The 

Genevieve  Stebbins  System 

/    A  of 

Physical  Training 


By 
GENEVIEVE  STEBBINS 


m^l 


ii 


Enlarged  Edition 


EDGAR  S.  WERNER  &  COMPANY 

NEW  YORK. 


Copyright,    1898,    by    Genevieve    Stebblns-Astley 
Copyright,    1913,    by    Edgar    S.    Werner 


3V3 

FOREWORD.  ,  ^  ,  -^ 

nl3 

THE  series  of  lessons  in  Part  II.  have  been  arranged  in 
response  to  the  urgent  demands  of  many  teachers 
who  have  needed  progressive  physical  exercises  which 
wonld  lead  to  aesthetic  work  and  yet  be  simple  enough  to 
teach  to  the  smallest  child,  and  in  schoolrooms  where  the 
desks  are  stationary. 

The  lessons  in  Part  I.  are  an  epitome  of  all  psychological 
physical  cnltnre,  and,  thoroughly  carried  out  in  daily  life, 
will  transform  that  life  into  a  healthy  and  happy  one. 

This  system  will  be  found  to  be  progressive,  going  from 
the  simple  to  the  complex.  It  is  a  complete  gymnastic 
system  along  aesthetic  lines  and  has  been  elaborated  by  the 
author  after  many  years'  experience  as  teacher  and  director 
of  physical  training  in  the  best  schools  of  New  York,  com- 
bined with  a  critical  study  of  the  carved  works  of  ancient 
art.  Bas-relief,  alto-relief  and  the  free  figure,  in  vase, 
frieze,  pillar,  and  temple,  have  been  the  models  for  much 
of  the  work.  This,  blended  with  a  knowledge  of  medical 
gymnastics,  makes  the  author  bold  enough  to  think  that 
she  is  offering  something  of  real  value  to  the  teacher  and 
the  pupil  of  physical  culture. 


iiGi.2r?3 


CONTENTS. 

Foreword 5 

PART  I. 

POISK .  15 

Poise  Exercises 17 

Tho  Head 17 

The  Jaw 17 

The  Face 17 

The  Chest 18 

The  Abdomen 18 

The  Calf 18 

The  Hips .  19 

The  Thighs 19 

Walking 19 

Dynamic  Breathing 21 

Breathing-Exercises 28 

To  Cure  Headache 30 

To  Invigorate  the  Base  of  the  Brain 81 

To  Invigorate  the  Ovaries 31 

To  Invigorate  the   Entire  Lung- Region  and    Prevent 

Consumption 82 

To  Give  Nerve-Power 32 

Reijvxation 33 

Relaxation  Exercises 34 

Energizing 88 

Energizing  Exercises 39 

Special  Drill  for  Home  Use 42 


8  CONTENTS. 

PART  IL 

Schoolroom  Gymnastics. 

Advice  to  Teachers 47 

First  Series  :   Standiug— Rising  and  Sitting— Stretching 

(the  Yawn)— Harmonic  Poising 49 

Second  Series  :   Marching  with  Arm  Positions 51 

Third  Series 53 

Fourth  Series  :  Foot  Flexion — Arms  Front,  Lift  and  Lower 

—Front  Ribs  In  and  Out— Head  Bend 54 

Fifth  Series  :  Foot  Side-Flexion— Arms  Side- Lift — Waist, 

Side  Rib  Pressure— Head  Side  Bend 55 

Sixth  Series  :  Foot  Circle — Arm  Circle— Head  and  Trunk 

in  Opposition,  Circle — Head  Circle .   .   .       56 

Seventh  Series  :    Leg    Oblique,    Shake — Arms   Oblique, 

Swing— Trunk  Oblique,  Bend — Head  Oblique,  Bend  .   .       57 

Eighth  Series  :  Leg  Pendulum  Swing— Arms,  Crank 
Movement  —  Trunk  Dervish  Swing — Head  Oblique, 
Facing  Up  and  Down 58 

Ninth  Series:  Leg  Side  Swing— Arms  Fly— Trunk  Side 

Bend  with  Arm— Head  Turn 59 

Tenth  Series  :  Knee  Lift,  Toe  Point— Horizontal  Swing  of 
Arms— Trunk  Vibration  Up  and  Down— Head  Bow, 
Side  Bend 60 

Eleventh  Series  ;  Leg  Circle  from  Hip— Arm  Circumduc- 
tion—Trunk  Circle  from  Hip— Head  Oblique,  Bow  Side 
Bend 61 

Twelfth  Series:  F<.ot  Floor  and  Knee  Touch— Backward 
Loop  from  Shoulder— Side  Bend  of  Trunk,  Arm  over 
Head,  Transfer  of  Weight— Head  Bick.  Side  Bend  .   .       62 

Thirteenth  Series:  Hip  Action,  Knee  In -Arm  and  Head 
in  Lateral  Opposition- Trunk  Oblique  Bend— Head 
Oblique,  Back  Bend,  Side  Bend 63 

Fourteenth  Series:  Forward  Change,  Alternating  Legs- 
Arms  and  Head  Opposition  Lift— Backward  Charging. 
Alternately  Unfolding  Arms- Head  Forward,  Bow 
and  Turn   . » .       64 


,    CONTENTS.  9 

Fifteenth  Series:  Military  Heels  Lift — Military  Heels, 
Knees  Bend— Toe,  Heel  Sink — Serpentine  Walk— Step, 
Toes  Turned  Out  and  In — Oblique  Courtesy  with  Step  .       66 

Sixteenth  Series:  Forward  and  Back  Rocking — Oppo- 
sition Side  Swing  of  Arm  and  Leg — Back  Kneeling. 
Hands  on  Knee — Front  Kneeling  with  Clasped  Hands 
over  Head 67 

Sbvknteenth  Series:  Oblique  Transfer  of  Weight  with 
Floating  Arms— Oblique  Swing  of  Arms  and  Legs — 
Courtesy— Forward  Charge  Combined  with  Courtesy  .       69 

Eighteenth  Series:  Running  in  Place — Angular  Arm- 
Twist — Bend  Arms  Downward  while  Rising  on  Toes- 
Head  Side  Bend,  Turn  Up  and  Down 70 

Nineteenth  Series:  Pivot  on  Balls  of  Feet — Wrist  Action 
from  Shoulder — Forward  Charge,  Pivot  and  Courtesy — 
Head  D;ick  Bend,  Right  and  Left  Turn 7] 

Twentieth  Series:  Forward  Charge,  Circle  and  Pivot — 
Fan  Action  with  Opposition  Head — Fan  Action  with 
Stepping— Head  Side  Turn,  Forward  and  Back  Bend    .       72 

Twbnty-First  Series:  Harmonic  Poise  with  Toe  Tapping 
— Combine  Arm  Circling  and  Horizontal  Swing— Rise 
on  Toes  Alternately — Head  Forward.  Neck  Stretch  .  .       73 

Twenty-Second  Series:  Feet  Open  and  Close — Directing 
Arm — Trunk  Twist,  Back  Bend — Head  Oblique,  Neck 
Stretch 75 

Twenty  Third  Series:  Toe  Point,  Swing  Free  Foot — 
Spir.-il  Arm— Trunk  Twist,  Forward  Bend— Head  Side 
Bend,  Neck  Stretch 76 

Twenty-Fourth  Series:  Hop  and  Swing  Free  Foot— Solar 
Cross,  Support  Circle — Rocking  Legs,  Circling  Arms- 
Head  Oblique,  Back  Bend,  Neck  Stretch 77 

Twenty  Fifth  Series:  Serpentine  Leg— Serpentine  Arms— 

Serpentine  Body — Head  Back,  Bend  Back,  Neck  Stretch      78 

Twenty-Sixth  Series:  Front  Cross,  Rise,  Step— Side  Slide 

—Side  Swing  of  Leg  with  Stepping  Behind 79 

Twenty  Seventh  Series:  Step  with  Deep  Courtesy — Step 
with  Peasant  Courtesy — Swing  Free  Leg  Forward  and 
Back  with  Double  Hop— Spanish  Step 80 


10  CONTENTS. 


PART  III. 
Drills. 

iEsTHETic  Drill  131 

Athenian  Drill — The  Victory   119 

Eastern   Temple  Drill    84 

Energizing  Dramatic  Drill 97 

English  Drill — The  May 91 

Greek  Drill — The  Nymphs  124 

Minuet  Fan-Drill  115 

Roman  Drill — The  Amazon   110 

Spanish  Drill — The  Carmen  103 

APPENDIX. 

Relation  of  Physical  Culture  to  Expression 133 


PART  1. 

"  I  ^HE  principle  of  correspondence,  thoroughly  under- 
stood,  is  the  key  that  unlocks  many  doors,  phys- 
ical and  spiritual.  It  was  first  formulated  in  the  grand 
old  Valley  of  the  Nile,  as  the  axiom  of  both  science  and 
religion ;  as  it  is  above,  so  it  is  below — as  on  the  earth, 
80  in  the  sky — as  within,  so  without. 

Art  could  not  speak  if  there  was  no  instinctive  com- 
prehension of  the  language  of  expression.  If  the  open 
brow,  the  honest  eye,  the  tender  mouth,  meant  nothing; 
if  the  hero  was  represented  with  lowering  look,  sunken 
chest  and  grasping  hand ;  marble  and  canvas  would  be 
meaningless.  But  it  might  be  argued  that  we  are  on 
the  verge  of  a  precipice ;  that  in  real  life  a  moral  hero 
might  habitually  have  all  three,  caused  by  physical  con- 
ditions ;  that  pain  might  have  contracted  the  brow,  dis- 
ease have  shrunken  the  chest,  and  rheumatism  have 
twisted  the  hand.  Grant  all  this — the  expression  would 
nevertheless  be  consistent. 

Bodily  condition,  disease,  has  its  expression ;  mental 
conditions,  efforts  of  the  mind,  vacuity  or  indifference, 
their  expression.  Moral  defect  or  obliquity  is  indelibly 
stamped,  and  to  the  trained  eye  can  never  be  confounded 
with  physical  weakness  per  se. 


12  THE  GENEVIEVE  STEBBINS 

The  spirit  can  conquer  bodily  condition,  and  shine 
through  any  form,  but,  generally  speaking,  "  a  sound 
inind   in  a  sound  body  "  is  the  safest  and  surest  adage. 

I  liave  stated  that  art  would  be  meaningless  if  signs 
and  expressions  could  not  be  read.  We  all  must  give 
licarty  assent  to  this  proposition,  but  the  converse  has 
n.>t  yet  been  fully  enough  considered,  viz.,  that  signs  of 
expression  tend  through  reflex  action  to  produce  states 
ot  mind ;  that  the  open  brow,  the  expanded  chest,  the 
gentle  hand,  may  be  assumed  as  a  gymnastic  exercise, 
and  by  reflex  action  induce  the  states  of  mind  of  which 
they  are  the  artistic  expression. 

To  take  a  familiar  example :  You  are  walking  and 
have  l)ecome  very  tired ;  the  step  lags,  the  chest  sinks, 
the  tired  face  sags ;  you  notice  it  and  say  to  yourself, 
"  Rouse  up,  lift  chest  and  head,  step  out  bravely  and 
the  sooner  home  to  rest."  You  make  the  effort  without 
knowing  that  the  raised  chest  means  hope  and  courage, 
the  level  shoulders  patience,  the  straight  back  and  girded 
loins  strength,  the  foot,  firmly  grasping  the  earth,  pos- 
session. You  may  not  know,  but  the  reward  comes 
notwithstanding,  for  the  chest  filled  with  air  i>uoys  you 
up,  the  tired  internal  organs  are  lifted  to  place,  the  jar 
no  longer  comes  from  the  heel,  and  you  go  home  the 
fresher  for  resisting  your  fatigue. 

Actors,  in  creating  roles  foreign  to  their  own  person- 


SYSTEM  OF  PHYSICAL  TRAINING.  13 

afitj,  instinctively  Bcarcli  for  some  individual  whose  out- 
ward expression  indicates  the  type  of  character  that  they 
desire  to  represent.  By  imitating  the  facial  expression 
and  attitude  of  the  selected  model,  they  produce  within 
themselves  analogous  emotions,  and  thus  color  their  cre- 
ations with  truth. 

Salvini  was  asked,  while  in  this  country,  "  How  is  it 
that  you  can  play  Hamlet  as  you  do?  "  The  answer  came 
instantly:     "I    do    not  play  Amleto,  I  am  Amleto." 

"VVe  are  told  that  Balzac,  the  famous  French  novelist, 
would  follow  people  for  miles  until  he  caught  their  walk, 
their  expression  and,  as  he  claimed,  their  very  thoughts. 
Then  home  he  would  go,  and,  following  them  in  imag- 
ination, would  write  down  a  complete  and  characteristic 
sequence  to  the  little  he  had  seen  and  heard.  This  is 
instructive,  as  Balzac  is  universally  acknowledged  the 
finest  delineator  of  character  in  French  literature. 

Observe  the  different  ])rofessions ;  see  how  the  daily 
habits  stamp  the  man.  The  soldier's  bearing,  the  stu- 
dent's stoop,  the  humility  of  the  nun,  the  unction  of  the 
priest, — can  we  not  from  these  learn  a  lesson,  striving  to 
make  our  daily  habits  significant  of  health  and  enthusi- 
asm, and  look  to  it  that  each  and  every  habit  is  educa- 
tional ? 

The  absolute  obedience  to  fundamental  laws,  from  the 
least  to  the  greatest,  is  what  I  would  most  impress. 


14  THE  GENEVIEVE  STEBBINS 

Recognizing  the  interdependence  of  mind  and  body, 
and  the  great  power  of  habit,  let  us  learn  this  beautiful 
philosophy, — training  the  body  easily  to  express  a  beau- 
tiful soul,  or  vice  versa,  training  the  body  to  right  nor- 
mal expression — that  through  reflex  action  a  sickly  spirit 
may  grow  into  uprightness. 


SYSTEM  OF  PHYSICAL  TRAINING.  15 

LESSON  L 

F»OISK. 

In  the  brief  resume  of  a  great  subject  I  can  not  of 
course  give  in  detail  all  that  will  be  valuable  to  you. 
The  following  lesson  will  however  give  the  fundamen- 
tals of  life,  viz.,  breathing,  with  right  thinking ;  relax- 
ation, with  conservation  of  energy ;  energizing,  with 
creation  and  direction  of  energy. 

We  need  now  to  generalize  all  in  the  one  grand  theme 
— Equilibrium  or  ITjirmonic  Poise, — a  well-balanced 
mind,  a  well-i>alanced  soul,  a  well  balanced  body — the 
body  tl^.e  plastic  image  of  the  soul. 

Different  parts  of  the  ])ody  are  especially  representa- 
tive of  different  dopiirtments  of  the  soul. 

Broadly  considered,  the  head  represents  thought,  the 
trunk  feeling;  hut  as  in  the  head,  especial  parts  are 
representative  of  especial  attributes  of  mind,  so  in  the 
trunk,  especial  paits  are  representative  of  especial  quali- 
ties of  feeling. 

If  you  have  ever  seen  a  skeleton,  you  have  without 
doubt  noticed  three  cage-like  cavities,  the  top  one  con- 
taining the  brain,  the  ribs  forming  a  cave  for  lungs  and 
heart,  while  the  pelvic  cage  becomes  a  kind  of  basket 


16  THE  GENEVIEVE  STEBBINS 

for  supporting  the  important  vital  functions  of  the 
body. 

The  celebrated  metaphysician,  M.  Alfred  Fouillee, 
states  that  "  sensations  stir  analogous  emotions."  For 
instance,  sensations  in  the  pelvic  region,  if  painful,  pro- 
duce the  emotion  of  melancholy,  and  stir  up  mournful 
trains  of  thought.  Sensations  in  the  rib  cage  produce 
love,  jealousy,  anger,  hope,  aspirations,  fear,  according 
as  the  action  is  normal  or  othervrise.  These  again  sug- 
gest their  corresponding  images  in  the  mind.  Sensations 
in  the  head  more  immediately  produce  the  injages  in  the 
mind  that  stir  the  analogous  emotions. 

We  are,  indeed,  wonderful  instruments  for  the  play 
of  nature's  forces,  objective  and  subjective. 

If  you  follow  me  so  far,  3'ou  will  understand  when  I 
add  that  the  head  is  mental,  but  is  divided  into  three  sec- 
tions in  which  the  upper  part  of  the  face  is  the  most 
mental,  the  intermediate  section  is  the  most  emotional 
or  moral,  the  lower  section  the  most  vital. 

Again,  the  upper  chest  represents  the  most  mental 
section  of  the  trnnk,  the  breast  the  most  loving,  and  tlie 
abdominal  region  the  most  vital. 

All  of  this  must  of  course  be  taken  very  broadly,  but, 
broadly  speaking,  I  think  that  your  experience  will  bear 
me  out  and  that  you  will  find  that  ' '  sensations  in  these 
parts  stir  analogous  emotions." 


SYSTEM  OF  PHYSICAL  TRAINING.  17 

Now,  admitting  this,  the  problem  is  ^ow  to  control 
sensation  so  that  emotion  and  thought  shall  become  sane 
and  healthy.  My  one  answer  is,  "  Poise  on  every  plane 
— mental,  moral,  and  vital." 

The  exercises  given  below  are  for  the  purpose  of  train- 
ing physical  poise. 

Exercise   I. — T/ie   Head. 

Let  the  head  fall  back,  then  raise  it  with  a  little  ten- 
sion in  the  back  of  the  neck.  Place  a  book  on  the  head 
when  thus  raised  and  walk  with  it.  Then  take  the  book 
off  and  think  of  the  top  of  the  head.  With  thought 
directed  there  as  you  walk,  straighten  the  whole  spine. 
This  gives  a  royal  carriage,  other  parts  being  adjusted. 
The  attributes  of  mind  in  the  top  of  the  head  are  among 
the  highest  in  nature. 

Exercise  II.  —  The   Jaw. 

Shut  the  mouth,  letting  the  teeth  touch  lightly  at  the 
back,  and  open  the  face  near  the  outer  corners  of  the 
eyes.  This  poises  the  jaw  and  invigorates  the  muscles 
of  the  face. 


Exercise  III. — The  Fc 


ace. 


Rub  the  face  upward  from  the  jaw  to  the  ear  and  be- 
tween the  eyes,  all  of  this  is  to  invigorate,  but  the  latter 
more  especially  to  stimulate  breathing. 


18  THE  GENEVIEVE  STEBBINS 

Exercise  IV. — The  Chest. 

Raise  the  chest  as  though  you  were  trying  to  bring 
your  breast  to  your  chin,  at  the  same  time  holding  tlie 
shoulders  down.      Do  tliis  without  the  aid  of  the  breath. 

Exercise  V. — The  Abdomen. 

(a)  Lie  prone  upon  the  floor,  face  down. 
(5)  Fold  the  arms  under  the  breast  as  pillows. 
(c)  Energize  the  whole  frame  and  rest  upon  the  toes 
and  the  elbows.   In  this  tension  raise  the  hips  as 
high  as  possible,  then  lower  them  until   the  ab- 
domen touches  the  ground. 
{d)  Now  raise  the  hips  high  and   hold  them  so  sus- 
pended for  fifteen  seconds. 
This  last  exercise  is  for  the   purpose   of   invigorating 
the  abdominal  muscles  and  is  invaluable  to  anyone  suffer- 
ing from  prolapsus  of  the   uterus.      Its  valne  as  an  ex- 
pressive exercise  is  to  enable  one  to  hold  'he  hips  back 
and  the  abdomen  in. 

Exercise  VI. — The  Calf. 

With  head  well  adjusted,  as  above,  chest  forward  and 
up,  shoulders  down,  and  hips  back,  poise  forward  until 
the  weight  is  over  the  balls  of  the  feet,  then  raise  your- 
self slowly  up  and  down.  Be  careful  to  come  down 
gently  on  the  heels,  as  if  eggs  were  under  them. 


SYSTEM  OF  PHYSICAL  TRAINING.  19 

Exercise  VII. — The  Hips. 

Practice  poising  body  from  right  to  left,  then  forward 
and  back.  Adjust  tlie  liips  well,  as  above,  in  each  poise 
and  carry  the  head  slightly  bent  toward  the  leg  which 
holds  the  weight. 

Exercise  VIII. — The  Thighs. 

{a)  Take  well- poised  attitude  on  both  feet. 

(J)  Rise  on  the  balls. 

(c)  Bend  both   knees,  not  letting    the  heels  touch  the 

ground. 
{d)  Return  to  position. 

This  is  to  strengthen  the  spine  muscles  for  holding  and 
for  walki.ig.      It  is  invaluable  for  the  rectum. 

Exercise  IX. —  Walking. 

Our  exercises  would  be  incomplete  without  a  descrip- 
tion of  walking,  for  we  all  must  walk,  well  or  ill.  The 
true  dynamic  walk  is  recuperative.  It  is  self-sustaining. 
It  is  graceful  in  the  last  degree. 

Standing  in  good  position,  send  forth  the  leg  from  the 
region  of  the  lumbar  plexus  or  small  of  the  back. 

Grasp  the  ground  with  the  foot,  the  side  of  the  little 
toe  just  grasping  the  ground,  but  so  swiftly  that  the 
whole  foot  seems  to  hold  simultaneously.     The  knee  of 


20  THE  GENEVIEVE  STEBBINS 

the  leg  holding  the  weight  should  be  straight.  Immedi- 
ately relax  at  the  knee  as  soon  as  the  weight  is  trans- 
ferred. The  feet  should  be  but  slightly  turned  out ; 
the  shoulders  observe  a  faint  but  graceful  opposition  to 
tlie  feet. 

Each  time  the  foot  strikes  the  ground  it  is  the  true 
centre  of  gravity  of  the  body.  The  moving  leg  swings 
free  and  without  any  muscular  bearing  upon  the  other. 
The  ball  and  the  heel  strike  the  ground  almost  in  unison. 
In  ordinary  walking  the  heel  strikes  first. 


SYSTEM  OF  PHYSICAL  TRAINING.  21 

LESSON  IL 

DYNAMIC     BRKATHING. 

Several  years  ago,  while  in  London,  my  attention  was 
called  to  a  peculiar  niethod  of  recuperating  brain  exhaus- 
tion. 

The  patients  were  tired  brain -workers,  some  of  them 
Oxford  professors;  the  teacher  was  a  Hindu  ])undit.  I 
made  inquiry,  and  upon  further  research  was  rewarded 
by  the  discovery  of  what  I  have  named  "Dynamic 
Breathing,"  or  the  correspondence  of  breath  and 
thought. 

Few  of  us  realize  that  we  breathe  as  we  think,  and 
vice  versa,  we  think  as  we  Ijreathe.  The  most  interest- 
ing and  at  the  same  time  the  least  understood  of  the 
functions  of  life  is  the  phenomena  of  breathing.  We 
need  to  dwell  deeply  upon  the  affinity  which  there  cer- 
tainly is  between  mental  action  and  respiration.  To  the 
air  we  breathe,  as  well  as  to  the  food  we  eat,  we  owe 
every  minute  of  our  mundane  existence. 

It  is  quite  possible  for  a  man  to  exist  in  comparative 
health  for  forty  or  fifty  days  without  a  single  mouthful 
of  food  but  we  can  not  keep  body  and  soul  together  for 
half  as  many  minutes  without  breathing.      "We  all  know 


22  THE  GENEVIEVE  STEBBINS 

this,  and  yet  the  fact  seein.s  to  have  escaped  tlie  general 
attention  that  its  importance  deserves.  Every  change  of 
mental  state  is  accompanied  bj  a  corresponding  change 
in  the  power,  force,  and  rhythm  of  respiration. 

Is  it  not  legitimate  to  infer  that  certain  ways  of 
breathing,  by  reflex  action,  will  produce  certain  trains 
of  thought?  If  this  be  true,  what  power  is  really  in 
our  grasp  !  For  breath  is  life,  and  the  power  of  breath- 
ing is  the  ability  to  draw  in  the  invisible  essence  of  con- 
tinued existence. 

Does  not  everything  breathe?  the  plants  by  the  road- 
sides, the  trees  of  the  forest,  the  birds  of  the  air?  Even 
the  fishes  depend  for  their  existence  and  continued  life 
upon  the  breath  and  the  functions  of  respiration. 

The  atmosphere  of  the  planets  is  the  product  of  solar 
radiation.  Apart  from  the  piiysical  elements  of  the 
atmosphere,  the  air  we  breathe  is  charged  with  nature's 
finer  and  more  ethereal  essences,  magnetism,  electricity 
and  ether. 

Let  us  examine  together  a  few  of  the  correspondences 
of  thought  and  methods  of  breathing. 

First,  the  respiration  produced  by  the  state  of  the 
mind  called  courage,  when  called  upon  to  face  danger. 
We  find  the  inhalations  long,  deep,  and  vigorous,  the 
lungs  inflated  to  their  utmost  capacity.  They  are  at- 
tracting the  dynamic  forces  of  the  atmosphere,  to  supply 


SYSTEM  OF  PHYSICAL  TRAINING.  23 

the  flashing  fires,  both  mental  and  physical,  which  cou- 
rageous action  demands. 

Compare  this  with  its  opposite  emotion,  fear.  Fear 
reduces  the  breathing  to  the  minimum.  The  greater 
the  fear  the  less  the  vigor  of  the  inhalations.  The 
action  grows  less  and  less  until  the  muscles  seem  para- 
lyzed and  breathing  stops. 

We  all  know  how  exhausting  is  anxiety,  but  few 
realize  that  it  is  because  we  have  not  taken  louir  breaths 
during  anxious  periods.  Continued,  unhappy,  pessi- 
mistic thought  is  a  slow  poison.  We  do  not  take  in 
enough  oxygen  to  purify  the  system  and  we  are  literally 
})oisoned. 

On  the  other  hand,  hope  produces  a  similar  breathing 
to  courage.  It  is  more  peaceful  and  easier  than  the 
breath  of  courage,  requiring  less  grip  and  tension  of  the 
diaphragm.  The  emotional  force  of  hope  gives  full  ex- 
pansion to  the  mind  and,  consequently,  to  the  lungs. 
The  nectar  of  the  gods  is  quaffed. 

"As  the  hart  panteth  after  the  water  brooks,  so 
paiiteth  my  soul  after  Thee,  O  God,"  expresses  aspira- 
tion, that  complete  exaltation  of  soul  and  mind  which  is 
rewarded  by  the  deepest  inspiration,  psychical  and  phys- 
ical. 

The  opposite  mental  state  to  hope  is  despair.  What 
are  its  physical  expressions?     The  muscles    become  re- 


24  THE  GENEVIEVE  STEBBINS 

laxed,  the  brain  energy  subsides,  the  whole  being  be- 
comes devitalized  while  the  breathing  is  scarcely  per- 
ceptible. 

Anger  and  hate  produce  a  short,  hard,  grasping  res- 
piration, as  though  each  effort  were  the  malicious  signal 
for  evil  action. 

Their  opposites,  love  and  peace,  produce  a  gentle, 
long-drawn,  peaceful,  receptive  respiration;  a  yielding, 
soft  breath  that  speaks  of  joyful  rest,  of  Paradise  and 
the  delicious  aroma  of  summer  flowers. 

Have  you  not  observed  in  yourself  that  you  breathe 
most  deeply  in  the  presence  of  those  objects  which  de- 
light the  mind  and  eye,  and  reverse  this  condition  in  the 
presence  of  those  things  which  horrify  the  mind  and 
displease  the  sight?  How  quick  the  brain  and  the  lungs 
are  to  respond  to  the  odors  which  delight,  and  to  rebel 
against  those  which  disgust. 

By  this  time,  I  am  sure  that  those  who  have  followed 
this  thought  with  me  will  admit  that  states  of  mind  af- 
fect the  respiration.  How  many  will  see  the  converse 
must  also  be  true,  viz. ,  methods  of  breathing  can  affect 
and  change  states  of  mind. 

Long,  deep  breathing,  united  with  bright,  happy 
pictures  in  the  mind,  will  go  far  to  counteract  anxiety, 
fear,  and  despair.  But,  you  reply  to  me,  "All  this  is 
mechanical,  not  spontaneous.     Are  we  machines?  " 


SYSTEM  OF  PHYSICAL  TRAINING.  25 

Do  you  not  realize  that  while  much  comes  to  man 
instinctively,  he  is  still  a  creature  of  training.  Instinct 
rises  to  reason,  and  there  can  be  no  lessening  of  effort 
if  lie  would  progress.  Regeneration  or  degeneration  is 
the  law  of  all  life.  Thoughts  and  emotions  are  closely 
connected  with  sensations. 

Fear  chills  the  blood.  Love  and  hope  warm  it.  A])- 
prehension  and  despair  interfere  with  digestion.  Con- 
fidence and  contentment  bring  health.  The  attitudes  of 
the  body  correspond  with  the  emotions  of  the  mind. 
The  attitudes  of  weakness  and  fear  contract  the  chest, 
compress  the  lungs,  retard  the  action  of  the  heart  and 
bring  a  thousand  physical  ills  in  their  train ;  while  the 
attitudes  of  firmness,  courage,  and  hope  expand  the 
chest,  make  vigorous  the  action  of  the  heart  and  the 
lungs,  and  thus  directly  imj^rove  the  health. 

The  effect  of  the  emotions  and  the  body  upon  each 
other  is  reciprocal.  The  celebrated  Fi-enchman,  M. 
Alfred  Fouillee,  says:  "Reciprocally,  the  wilful  ex- 
pression of  an  emotion  which  we  do  not  fc-el  generates  it 
by  generating  the  sensations  connected  with  it,  which, 
in  their  turn,  are  associated  with  analogous  emotions. 
The  actor  who  expresses  and  simulates  anger  ends  by 
feeling  it  to  a  certain  extent.  Absolute  hypocrisy  is  an 
ideal.  It  is  never  complete  with  a  man.  Realized  iu 
full,  it  would  be  a  contradiction  of  the  will  with  itself. 


5J6  THE  GENEVIEVE  STEBBINS 

In  every  case,  nature  is  ignorant  of  it.  Genuineness  is 
the  first  law  of  nature  as  it  is  the   first  law  of    morals." 

Admitting  all  this,  it  may  still  be  urged  :  Does  not 
the  imagination  work  first?  Is  it  not  the  mind  that 
first,  through  its  fancied  state  of  hope  or  joy,  affects  the 
body? 

I  answer  gladly,  yes ;  and  to  this  very  question  I  have 
been  leading  you,  and  now  I,  in  turn,  ask :  What  is  the 
imagination?  The  imagination  is  the  intrinsic  action 
around  which  all  mental  movements  cluster,  and  from 
which  every  other  mental  act  is  derived.  It  is  the  ob- 
ject-glass of  the  soul  in  which  the  human  mind  realizes 
and  interprets  all  external  forms  and  movements — sym- 
bolic when  engaged  with  impersonal  ideas  and  creative 
conceptions,  and  realistic  when  it  reproduces  the  sub- 
jective images,  the  actual  scenes  and  events  of  the  past. 

To  come  at  once  to  a  practical  example, — we  have 
learned  that  hope  has  corresponding  deep  breathing,  but 
how  excite  hope  when  low  spirited  and  in  despair?  Deep 
breathing  will  do  nmch,  but  it  should  if  possible  be  nat- 
ural. The  close  attention  to  the  process  of  breathing 
will  defeat  your  purpose.  Instead,  after  a  few  deep 
breaths,  fix  the  attention  on  something  you  hope  for — 
a  definite  image.  Realize  it  present, — in  your  possession 
now.  It  is  in  your  mind,  and  soon  the  joy  of  life,  gen- 
crated  by  the  image  and  the  breathing,  will  completely 


SYSTEM  OF  PHYSICAL  TRAINING.  27 

dispel    the    cloud    of   melancholy  and  doubt  which  sent 
despair  to  your  very  souL 

The  logical  conclusion,  which  we  naturally  derive 
from  observation  of  the  methods  and  emotions  which 
dominate  us,  one  and  all,  is : 

First,  that  various  states  and  conditions  of  respiration' 
in  the  natural  state  are  owing  to  certain  manifestations 
of  mind. 

Second,  that,  seeing  that  certain  states  of  respiration 
are  the  outcome  ot  certain  states  of  mind,  we  are  led  to 
infer  that  with  the  powerful  aid  of  the  imagination  and 
a  systematic  rhythmic  breathing  we  can  stimulate  the 
mental  powers  and  through  the  ready  response  of  the 
organism  overcome  many  of  the  discords  of  life. 

Surely  all  this  is  worth  a  trial,  for  air  can  not  injure 
one  even  if  it  does  not  help. 

Patience  and  effort  are  necessary,  for  the  system  of 
culture  advocated  is  not  play.  It  will  need  attention  and 
work ;  but  this  necessary  training  will  result  in  a  great 
art,  viz. ,  the  art  of  being  always  able  to  express  the  true 
self,  to  elevate  the  soul  to  its  highest  aspirations,  and  the 
mind  to  its  best  thought. 

A  thorough  system  of  gymnastics  must  go  hand  in 
hand  with  the  breathing-exercises,  and  the  power  of  con- 
centrating the  attention  upon  an  image  in  the  mind  must 
be  slowly  acquired. 


28  THE  GENEVIEVE  STEBBINS 

The  three  principles  of  our  being — mental,  moral, 
and  vital — are  strictly  correlated  to  and  strengthened  by 
breathing,  mental  imagery,  and  physical  exercises 


BREATHING-EXERCISES 

Exercise  I. 

{a)  Completely  empty  the  lungs. 

[b)  Allow  the  air  to   fill   the   air-cells.      Do  not  make 
any  muscular  effort ;   let  tlie  air-pressure  expand 
the   lungs.      Energy  is    wasted    in    making  an 
effort  to  draw  in  the  air. 
Breathe  rhythmically.     The  ingoing  and  the  outgoing 
breath  should  be  of  exactly  the  same  duration.      For  in- 
stance, if  you  count  four  for  the  incoming  breath,  hold 
it  in  two  counts,  then  let  it  out  during  four  counts.      If 
the  breathing  be   deeper,  count   sev^en  for  tlie  incoming 
breath,  three    for    holding,    seven    for    letting    out   the 
breath.   Even  ten  may  be  counted  with  impunity,  always 
holding  one-half  as    long  as   you    inhale.      Few  people 
realize   how  unevenly  they  breathe.      They  take    in  air 
quickly  and  let  it  out  slowly,  so  that  we  have  less  fresh 
air  than  bad   air  in    the  lungs.      This  is  one  reason  why 
talking  is  so  fatiguing  unless  one  is  also  a  good  listener. 


SYSTEM  OF  PHYSICAL  TRAINING.  29 

Exercise  U 

Lie  or  sit  in  any  easy  position — preferably,  lie  on  the 
back — relaxing  one  knee  and  one  arm,  extending  the 
other.  Feel  restful  and  dreamy.  Put  all  the  will  in 
pressing  out  the  air,  then  calmly  wait  until  nature  has 
filled  you.  The  second  time  that  you  press  out  the  air 
you  will  not  feel  like  emptying  so  much;  again  let 
nature  replenish  the  loss.  Each  time  you  will  find  less 
and  less  air  pressed  out,  for  the  lungs  retain  the  oxygen 
much  longer  than  we  imagine  and  it  takes  many  exhala- 
tions to  empty  the  lungs.  At  last  the  breathing  is  quite 
tacit — a  deep  exhalation — a  deep  sigh  follows. 

The  foregoing  breathing  is  the  analysis  of  the  kind  of 
breathing  that  is  the  correspondent  of  states  of  mind 
when  the  soul  is  receptive  to  states  or  scenes  of  loveliness 
and  beauty. 

Exercise  III. 

(a)  Lie  relaxed  in  an  easy  position. 

(b)  Breathe  strongly,  with  a  vigorous  vertical,  surging 

motion,  with  the  same  rhythm  as  in  Exercise  L 
This  stretches  the  whole  trunk  like  an  accordion. 
Concentrate  the  mind  as  follows :  (1)  Imagine 
the  ingoing  and  the  outgoing  breath  being  drawn 
through  the  feet,  as  though  the  legs  were  hoi- 


30  THE  GENEVIEVE  STEBBINS 

low ;   (2)  direct    the    same    mental    idea  to  the 
hands  and  the  arras ;   (3)  to   the  knees ;   (4)  to 
tlie  elbows.   (5)  Now  breathe  through  the  knees 
and  the  elbows  together ;   (6)  breathe  through 
the  lips ;   (7)  breathe  through  the  shoulders ;  (8) 
breathe  through  the  abdominal  and  pelvic  lum- 
bar   regions;   (9)  breathe   through    the   upper 
chest;   (10)  complete  this  mental   imagery  by 
breathing  through  the  head  and  the  whole  or- 
ganism in  one  grand  surging  influx  of  organic 
life. 
This  breathing  corresponds  to  energetic  states  of  mind 
when  the  concentrated  will  is  directed  to  the  given  parts 
of  the  body.      Its  value  can   not   be   overestimated.      It 
trains  mind  and  body  for  strong,  well-directed,  energetic 
action,  and  rests  the  entire  system  by  the  distribution  of 
nerve-force  and   quickened   vigorous  circulation,  which 
ensues  on  its  practice.    It  will  almost  cure  nervous  pros- 
tration.    Fifteen  minutes  twice  a  day,  about  two  hours 
after  eating,  is  the  prescription. 

Exercise  IV. — To  Cure  Headache. 

(a)  Lie  in  a  relaxed  easy  position. 

(5)  Fold  the  hands  on  top  of  the  head. 

(c)  Breathe  about  four  counts,  heart  rhythm. 

{d)  Hold  one  count. 


SYSTEM  OF  PHYSICAL  TRAINING.  31 

{e)  Breathe  out  four.  Think  that  you  are  forcing  the 
air  out  through  your  feet.  The  hands  on  the 
liead  lock  the  upper  chest-muscles  and  force 
deep  breathing,  wliile  the  liold  of  breath  is  only 
one.  All  this  draws  the  blood  from  the  head 
or  stirs  the  circulation. 

Exercise  V. — To  Invigorate  the  Base  of  the  Brain. 

{a)  Stand  and,  holding  the  hands  in  front,  shake  them 
vigorously,  relaxed  from  the  wrist. 

ih)  Breathe  deeply,  as  you  do  so,  gradually  packing 
the  air. 

(c)  When  lungs  are  full,  and  the  shaking  has  continued 
some  time,  suddenly  stiffen  the  hands,  and  hold- 
ing the  breath,  carry  the  hands  to  the  base  of 
the  brain,  pressing  the  thumbs  on  the  soft  part 
of  the  neck  just  under  the  bony  structure,  the 
fingers  clasp  and  meet  above.  Press  vigorously, 
holding  the  breath. 

Exercise  VI. — To  Invigorate  the  Ova/ries. 

Take  a  good  breath  and  hold  it,  while  pressing 
the  second  finger  vigorously  on  the  abdomen  in  the  region 
of  the  ovaries.  Strain  downward  and  will  energy  into 
that  regio  . 


82  THE  GENEVIEVE  STEBBINS 

Exercise  VIL — To  Invigorate  the  Entire  Lunq'Region 
and  Prevent   Consumption. 

(a)  Fill  the  upper  part  of  the  kings. 

(h)  Hold  the  breatli  and  witli  tlie  aid  of  the  chest- 
muscles  force  the  air  down  into  the  lower  chest, 
and  then  up.      Do  this  for  some  little  time. 

Exercise  VIII. — To  Give  Nerve- Power. 

Standing,  take  a  good  hreatli.  Hold  it  and  clenching 
the  hands  in  front,  draw  tliem  vigorously  backward  to 
the  shoulder.      Repeat  several  times  with  great  rapidity. 

These  breathing-exercises  constitute  })hysical  culture 
for  the  diaphragm,  the  great  centre  muscle,  the  roof  of 
the  stomach  and  the  floor  of  the  lungs.  In  its  rise  and 
fall,  contraction  and  relaxation,  it  carries  with  it  all 
muscles  attached,  and  all  the  vital  functions  of  life  are 
toned  and  invigorated  by  its  energetic  action.  The  ab- 
dominal contents  should  be  lifted  upward  toward  the 
chest,  so  that  the  great  expansion  is  at  the  waist,  although 
a  slighter  outer  swell  of  the  abdomen  begins  the  action. 
The  chest-muscles  should  always  allow  themselves  to  be 
passively  raised.  God's  air  is  above  and  around  us  only 
awaiting  an  empty  receiver  to  rush  in  and  stimulate 
heart  and  l)rain  and  soul. 


SY6TEM  OF  PHYSICAL  TRAINING.  88 

LESSON  III. 

RELAXATION. 

This  must  not  be  mistaken  for  inertia.  Relaxation 
means  rest  after  effort, — perfect  rest  after  perfect  effort. 
It  means  the  conscious  transfer  of  energy  from  one  de- 
partment of  nature  to  another,  with  ease  and  economy, 
after  a  tension  of  body  or  brain.  True  relaxing  would 
mean  complete  resignation  of  the  body  to  the  laws  of 
gravity,  the  mind  to  nature,  and  the  entire  energy  trans- 
ferred to  a  deep  dynamic  breathing.  Before  giving 
breathing-exercises,  one  must  understand  relaxation. 
The  complete  relaxation  of  the  voluntary  muscles  at 
once  transfers  the  energy  to  the  involuntary  parts,  so 
that,  strictly  speaking,  there  can  be  no  such  thing  as  re- 
laxing except  in  parts  of  the  body ;  but  this  is  quite 
sufficient.  Relaxation,  tlien,  recuperates  power  through 
the  repose. 

It  is  the  custom  among  the  nomadic  Arabs  and  the 
caravan  merchants  journeying  in  the  desert,  as  soon  as 
they  reach  an  oasis,  or  other  place  in  the  desert,  to  seek 
the  shade  and,  throwing  themselves  prone  on  the  ground, 
to  relax  every  muscle.  In  this  position  they  rest  twenty 
or  thirty  minutes,  breathing  deej)ly.     When  they  arise 


34  THE  GENEVIEVE  STEBBINS 

they  are  refreshed  to  such  an  extent  that  they  could 
continue  their  journey  another  twenty-four  hours  if 
necessary. 

For  many  years  I  have  followed  a  similar  practice 
after  an  exhausting  day's  work,  and  it  refreshes  me  for 
the  evening  as  nothing  else  can.  It  is  a  great  art  to  be 
able  to  rest  at  will, — merely  lying  down  is  not  sufficient. 
The  brain  must  rest,  the  muscles  must  relax,  the  soul 
cease  its  striving.  This  is  a  consummation  not  only  de- 
voutly to  be  wished,  but  to  be  attained ;  for  the  habit 
of  rest  can  by  repeated  effort  be  thoroughly  estab- 
lished. 

Exercise  I. 

Lie  down  on  the  floor,  relax  at  once  as  completely  as 
possible,  so  that  the  body  shall  be  practically  limp  and 
lifeless,  as  though  it  was  no  part  of  you.  The  mental 
idea  is  a  calm  and  perfect  consciousness  of  your  separate 
existence  apart  from  and  superior  to  any  part  of  the 
body  undergoing  the  exercise.  This  must  be  accom- 
panied by  rhythmic  breathing,  while  in  imagination  the 
mind  seeks  unaided  a  pleasing  but  dreamy  kind  of  rap- 
port with  the  natural  surroundings,  if  they  are  beauti- 
ful ;  if  not,  close  the  eyes  and  make  a  picture  of  sea 
and  sky,  rose  garden  or  hill,  lawn  or  bower. 

Bend  one  leg,  say  the  right,  and  bend  the  left  arm,  or 
vice  versa,  while  taking  this  exercise. 


SYSTEM  OF  PHYSICAL  TRAINING.  85 

When  you  go  to  bed,  try  to  lie  heavily,  for,  strange 
as  it  may  seem,  many  sleep  tensely  all  night. 

Exercise  II. 

Sit  in  a  chair,  well  back,  letting  the  shoulders  rest 
against  the  chair ;  hold  up  the  chest,  but  let  the  arms 
and  the  legs  feel  heavy,  that  is,  relax.  Many  ride  in  a 
carriage  spending  nervous  energy  enough  to  draw  the 
vehicle.      Learn  to  let  the  cushions  carry  you. 

Exercise  III. 

Lift    the   arms  from  the  shoulders  as  if  they   were 

foreign    objects;    feel    their    weight.  Gradually    raise 

them    over  the  head ;   swing  them  in  a  circle,  feeling 
their  weight  constantly. 

Exercise  IV. 

Stand  on  a  stool  and  swing  leg  from  tho  hip ;  feel  its 
weight. 

Exercise  V. 

Drop  the  head  sidewise  until  it  draws  the  trunk  side- 
wise.     When  about  to  fall  suddenly  recover  balance. 

Exercise  VI. 

Hang  the  head  forward  as  though  sleepy. 


86  THE  GENEVIEVE  STEBBINS 

Exercise  VII. 

Drop  the  hand  from  the  wrist,  heavily. 

Exercise  YIII, 

Shake  the  foot  from  the  ankle,  as  if  the  foot  was  an 
old  boot. 

Exercise  IX. 

Strive  to  shake  the  forearm,  as  if  it  was  a  stick  hang- 
ing from  the  elbow.      This  last  is  difficult. 

Exercise  X. 
Shake  the  leg  free  at  the  knee. 

Exercise  XI. 
Shake  the  fingers  free  at  the  knuckles. 
Exercise  XII. 

Relax  the  jaw  and  the  tongue — the  latter  to  free 
speech. 

Unconscious  expression  of  energy  in  voluntary  mus- 
cles, when  performing  no  use,  is  wasted.  We  not  only 
fail  to  avail  ourselves  of  the  magnificent  lii'e-supply  iji 
the  air,  but  we  heedlessly  throw  away  the  precious  life- 
force  in  unnecessary  waste  every  moment  of  our  lives. 


SYSTEM  OF  PHYSICAL  TRAINING.  37 

But  here  let  ns  pause,  for  I  would  not  for  one  moment 
have  it  thought  that  I  counsel  laziness.  No,  far  from  it 
— energy,  whenever  needed ;  but  directed,  willed,  pur- 
poseful energy,  followed  by  right  relaxation  at  the  right 
time.  Too  many  of  us  are  constantly  working  on  the 
fag  end  of  our  strength,  not  leaving  in  ourselves  enough 
force  to  direct  mind  and  body  to  their  rest. 

This  is  a  great  mistake.  When  one  feels  completely 
exhausted  in  the  region  of  the  pit  of  the  stomach  and  at 
the  base  of  the  brain,  the  situation  is  dangerous.  We  all 
need  reserve  force  at  the  centre  of  strength. 


38  THE  GENEVIEVE  STEBBJNS 


LESSON  IV. 

KNERGIZING. 

The  energizing  exercises  are  arranged  for  the  purpose 
of  directing  the  will  force  to  a  given  part  of  the  body  or 
to  the  whole  organism.  These  exercises  are  the  antithe- 
sis of  the  relaxing  ones,  not  rest,  Ibut  effort,  strong  and 
powerful,  is  their  aim. 

Ilav^e  you  never  observed  the  unnecessary  contortion 
of  the  face  as  some  irritated  individual  struggled  with  a 
perverse  corkscrew,  bureau  drawer,  or  umbrella?  In- 
stead of  putting  the  necessary  energy  into  liand  and  arm, 
force  is  wasted,  because  distributed  over  so  many  unused 
parte.  Witness  the  braced  leg,  tense  arms,  wrinkled 
brow. 

We  observe  and  laugh  at  our  neighbors,  not  realizing 
that  they  in  turn  laugh  at  us. 

"  O  wad  some  power  the  giftie  gie  us 
To  see  oursels  as  others  see  us  1 
It  wad  frae  mony  a  blunder  free  us. 
An'  foolish  notion." 

Again  we  attempt  to  do  many  things  on  exhausted 
lungs.     Little  children  are  wiser.     A  wee  boy  will  not 


SYSTEM  OF  PHYSICAL  TRAINING.  39 

attempt  to  lift  a  stone  without  a  big  breath  to  aid  him ; 
but  children  of  an  older  growth  have  forgotten  nature's 
lesson,  have  lost  the  instinctive  wisdom  of  infancy.  In 
nervous  agitated  fashion  we  rush  about,  attempting 
herculean  tasks  with  emptied  lungs. 

To  learn  to  breathe  is  the  secret  of  power.  It  in- 
creases the  personal  magnetism  as  well  as  the  vital 
strength. 

The  mental  idea  in  these  exercises  is  that  of  aljsolute 
power  possessed  apart  from  the  body,  directed  to  the 
parts  at  will. 

Caution  :  Do  not  energize  any  part  of  the  body  but 
the  parts  directed. 

Exercise  I. 

(a)  Stand  in  a  normal  position, 

(J)  Extend   the  right   leg  forward,  lifting  it  slightly 

above  the  floor  and  resting  tlie  weight  on  the 

left  leg. 

(c)  Inhale,  and  as  you  do  so,  gradually  contract  every 

muscle  until    the  left  leg  is  quite  rigid  at  the 
fourth  count. 

(d)  Hold  the  tension  and  the  breath  while  counting 

four. 
(«?)  Slowly  relax  while  you  count  four. 


40  THE  GENEVIEVE  STEBBINS 

EXEKCISE    II, 

Repeat  this  exercise  with  the  left  leg. 

Exercise  III, 

Repeat  the  exercise  by  standing  upon  both  legs  and 
energizing  them  together,  so  that  in  inhaling  the  breath, 
the  whole  body  is  lifted  upward  until  you  stand  upon 
the  toes. 

EXEKCISE    IV. 

Energize  the  left  arm  as  you  did  the  left  leg,  clench- 
ing the  arm  and  the  hand.   The  arm  is  extended  slightly. 

Exercise  Y. 

Repeat  with  the  right  arm. 

Exercise  VI. 

Repeat  with  both  arms.  This  will  require  much  care 
to  concentrate  the  will  force  in  such  a  way  as  to  leave 
the  throat  and  the  face  uninfluenced. 

Exercise  VII. 

Gradually  energize  the  chest- walls,  lifting  them,  while 
energizing  the  abdomen,  loins,  etc.  ;  press  the  arms 
backward  to  their  utmost  capacity,  palms  outstretched 
as  if  raising  a  heavy  weight,  making  the  whole  trunk, 


SYSTEM  OF  PHYSICAL  TRAINING.  41 

except  the  neck   and   the  liead,    quite   rigid.       Slowly 
relax. 

Exercise  VIII. 

Energize  the  head,  drop  it  backward ;  then  raise  it, 
slowly  energizing. 

Exercise  IX. 

Stretch  the  right  arm  up,  the  left  arm  down,  stretch- 
ing the  entire  body.      Repeat  with  the  left  arm. 

Exercise  X. 

Stretch  the  entire  body  in  a  great,  broad,  fully  ex- 
panded yawn,  legs  astride.  Yield  yourself  to  it  as  nat- 
urally as  possible. 

All  of  the  energizing  exercises  should  be  increased  in 
tension  during  inhalation  ;  should  be  held  at  full  tension 
while  the  breath  is  held  (about  four  seconds  is  the  aver- 
age) ;  should  be  gradually  relaxed ;  and  great  care  must 
be  observed  to  keep  the  parts  not  being  energized  free 
from  unnecessary  tension. 


42  THE  GEAEVIEVK  STEBBINS 

SPECIAL  DRILL  FOR  HOME  USE. 

Exercise  1. 

Spread  a  sheet  on  the  floor  and  kneel  on  it.  Kneel- 
ing, place  hands  on  floor  and  lower  the  trunk  until  the 
chin  rests  on  the  floor.  Then  place  the  arms  at  the  side 
in  an  easy  position,  with  the  backs  of  the  hands  on  the 
floor.  Breathe  deeply  for  several  minutes,  expanding 
at  the  waist. 

Exercise  II. 

Turn  the  head  and  rest  the  right  side  of  the  face  on 
the  floor ;  crook  the  arms  and  the  left  knee.  Breathe 
deeply  several  minutes. 

Exercise  III. 

Repeat  the  same  on  the  opposite  side. 

Exercise  IV.   , 

Place  both  hands,  thumbs  touching,  at  the  small  of 
the  back  and  curve  trunk  upward,  head  leading.  Re- 
peat six  times. 


SYSTEM  OF  PHYSICAL  TRAINING.  43 

Exercise  Y. 

Place  the  palms  of  the  hands  on  the  floor  and  raise 
the  trunk  arms'  length.      Repeat  six  times. 

EXEKCISE   YI. 

Keeping  the  hands  on  the  floor,  rise  to  the  knees  and 
give  a  good  back  stretch,  like  a  dog  stretching  after  a 
nap.     Repeat  six  times. 

Exercise  YII. 

Elbows  and  toes  support  abdomen  straight.  Raise 
hips,  hold.     Repeat  six  times. 

Exercise  YIII. 

Relax  and  take  position  in  Exercise  II.     Breathe. 

Exercise  IX. 

Turn  on  right  side,  rest  on  one  elbow  and  on  ankles, 
and  raise  hips.     Repeat  six  times. 

Exercise  X. 
Repeat  on  left  side,  then  rest. 

Exercise  XI. 
Lie  on  back.     Stretcli  tlie  arms  over  head  back  of 


44  THE  GENEVIEVE  STEBBINS 

liands   on  floor.      Stretch  the  entire  body.      Hold,  then 
rest. 

Exercise  XII. 

Lay  hands  on  top  of  head.  Bend  tlie  knees,  place 
feet  on  floor  and  raise  hips,  resting  on  shoulders  and 
feet.      Rest. 

Exercise  XIII. 

Keeping  hands  on  top  of  the  head,  with  bent  knee 
circle  thigh  as  completely  as  possible.  Repeat  a  num- 
ber of  times,  first  with  right  thigh,  then  with  left.  Then 
place  a  cushion  on  the  floor,  rest  the  back  on  it,  and 
keeping  knees  bent  and  together,  circle  both  thighs. 

Exercise  XIY. 

Circle  the  right  arm,  curving  over  the  head;  then 
down  at  the  side.  Repeat  a  number  of  times  with  right 
arm,  left  arm,  and  both  arras. 

Exercise  XY. 

Place  hands  on  top  of  head  and  raise  both  legs  about 

45  degrees  from  the  ground.     Hold ;   rest. 

Exercise  XYI. 
Raise  both  legs  90  degrees  from  the  ground,  straight. 


S  YSTEM  OF  PHYSIC  A  L  TRAINING.  45 

Holding  right  leg  in   air,  gently  lead  the  left  leg  down 
laterally.     Repeat  on  other  side. 

Exercise  XVII. 

Rise  to  knees;  place  hands  on  head.  Kneel  wide, 
then  drop  the  body  to  the  right  and  to  the  left  alter- 
nately. 

Exercise  XVIII. 

Bring  lists  to  armpits,  then  extend  arms  overhead  and 
lean  well  back.     Hold.      Repeat  several  times. 

Exercise  XIX. 

Rise  and  stand  against  the  wall.  Place  the  hands  on 
the  hips  and  stand  with  the  feet  apart.  Raise  heels, 
bend  knees,  stretch  knees,  heels  sink.  Repeat  several 
times. 

Exercise  XX. 

Open  some  door  and  place  hands  on  the  sides  of  the 
frame  of  the  doorway,  elbows  stretched.  Stand  on  tip- 
toes. Firmly  grasping  the  frame  and  holding  the  toes 
firmly  on  the  ground,  let  the  body  swing  forward. 
Hold. 

The  foregoing  drill  is  adapted  from  the  finest  sani- 
tarium work  and  the  author  considers  that  it  is  valuable 


45  THE  GENEVIEVE  STEBBINS 

to  anyone.  It  should  be  used  to  keep  the  entire  body 
in  good  trim.  Its  best  effects  will  follow  when  prac- 
ticed an  hour  and  a  half  after  eating.  When  needing 
exercise,  the  author  uses  the  foregoing  home  drill.  Its 
use  by  those  troubled  with  sluggish  action  of  liver,  in- 
testines, etc.,  is  strongly  advised.  It  will  also  reduce 
the  superfluous  flesh  from  the  region  of  the  hips  and  the 
abdomen,  while  making  thin  people  larger  by  improving 
the  digestion  and  increasing  the  size  of  the  muscles. 
For  reducing  flesh,  starch  and  sugar  must  be  avoided  in 
the  diet  and  the  bowels  kept  open.  Breathing  and  gym- 
nastics will  do  the  rest. 


SYSTEM  OF  PHYSICAL  TRAININQ.  47 


PART  II. 
SCHOOLROOM   GYMNASTICS. 

ADVICE  TO   TEACHERS. 

Have  the  scholars  stand  in  aisles  between  desks,  or  if 
you  have  an  empty  room  march  your  scholars  to  a  line. 
Front  face.  Raise  left  arms  and  extend  them 
sideways,  touching  the  neighbor's  shoulder.  The  sec- 
ond line  is  at  reach  distance  (i.  e.,  arms,  forward  ex- 
tended, touch  the  backs  of  tlie  front  row)  and  is  also  left- 
arm  distance  from  their  neighbors.  When  all  the 
class  are  thus  standing,  count  one — two,  one — two,  etc., 
for  alternate  columns;  then  give  the  order:  "Twos 
forward  step."  Tlio  class  can  now  extend  both  arms 
and  are  ready  for  tlio  drills. 

In  each  advance  lesson  put  some  marching,  and  care- 
fully follow  the  prescriljed  order,  viz. : 

1.  Respiratory. 

2.  Legs. 

3.  Arms. 

4.  Trunk. 
6.  Head. 

6.  Marching. 

7.  Respiratory. 


48  THE  GENEVIEVE  STEBBINS 

Thus  all  parts  of  the  body  are  worked  in  proper  rela- 
tion to  each  other.  If  you  use  two  or  three  lessons  at 
once — say  two  reviews  and  one  advance — begin  tlie 
hour  with  the  respiratory,  then  give  the  series  and  end 
them  all  with  marching  and  with  breathing. 

When  hands  are  not  in  use,  order  the  backs  of 
hands  placed  lightly  on  hips,  one  a  little  lower  than  the 
other,  elbows  back.  The  relaxing,  energizing,  breath- 
ing, and  walking  can  be  introduced  wlien  convenient. 
Teachers  are  earnestly/  advised  to  insist  on  their  pupils 
owning  a  copy  of  this  hook  for  home  practice. 

Perform  all  the  drills  to  music — march  or  waltz. 
After  carefully  showing  the  exercise,  blend  the  arm 
series  with  the  fancy-step  marching. 


SYSTEM  OF  PHYSICAL  TRAINING.  4y 

KIRST     SERIES. 

Waltz  Time. 
ExEKCisE    I .  — Standing. 

(a)  Heels  on  same  line  and  together. 

(h)  Feet  turned  out  BO  degrees. 

((?)  Knees  straight. 

{(l)  Head  held  as  if  bearing  a  weight,  or  so  a  perpen- 
dicular line  could  be  dropped  from  the  ceiling 
or  the  skj  to  the  centre  of  the  crown. 

(e)  Trunk  erect,  gluteal  mass  and  hips  well  back. 

(/*)  Shoulders  down,  arms  hanging  easily. 

Caution  :      Avoid  unnecessarj  tension. 

Exercise   II. — Rising  and   Sitting. 

(a)  Stand  before  a  chair,  one  foot  in  advance  of  the 

other. 
(h)  Bend  the  trunk  forward,  the  head  backward,  and, 

as    it   were,  courtesy  into  a   chair.     Caution : 

Do  not  exaggerate  either  the  trunk  or  the  head 

motion. 
(/•)  Incline  the  trunk  forward  and  the  head  backward, 

and  rise  slowly  by  the  power  of  the  legs. 
Caution  :  Do  not   press  the  arms  on  any  portion    of 

the  body  or  of  the  chair. 


50  THE  GENEVIEVE  STEBBINS 

Exercise  III. — Stretching   {the    Yawn). 

{a)  Extend  ;u!!;s  front,  shoulder  level,  palms  down. 

(5)  Bend  arm>,  bringing  finger-tips  to  chest,  elbows 
at  hhoulder  level,  drawn  well  back. 

(c)  Extend  arms  laterally,  still  at  shoulder  level. 

((f)  Rotate  arms,  turning  palms  up. 

{e)  Bend  elbows,  carrying  finger-tips,  which  do  not 
separate,  to  base  of  brain.  In  this  position  the 
elbows  are  extended  at  side,  the  head  erect, 
the  finger-tips  touching,  the  shoulder-blades 
well  in. 

{f)  Bend  arms,  bringing  fists  to  shoulder. 

(y)  Drop  hands,  placing  them  lightly  on  hips,  fingers 
to  the  front. 

(Ji)  Take  good  standing- position  and  gently  rise  to  the 
balls  of  the  feet.  Descend,  without  allowing 
the  heels  to  touch  tlie  ground.  Perforin  this 
several  times. 

To  the  foregoing  add  the  deep  breathing  and  hold  of 
the  yawn  or  tired  stretch,  for  the  exercise  is  base.l  on 
Nature's  restorer,  the  yawn. 

Exercise    IY, — Harmonic  Poising. 

By  the  term  "strong  leg"  is  meant  the  leg  bearing 
the  weight.      In  these  poising  exercises,  incline  the  trunk 


SYSTEM  OF  PHYSICAL  TRAINING.  51 

away  from  the  strong  leg,  not  toward  it.  There  should 
be  no  slouching  at  the  hips,  and  the  muscles  of  the  thorax 
and  the  back  should  hold  the  abdomen  up  and  in. 

(a)  Side  Poise :   Stand    erect,  with  the  feet    slightly 

apart    and    the    weight  on    both   feet   equally. 

Sway    to  the  right,  putting  the  weight  upon  the 

right  leg.     Then  sway  to  the  left,   putting  the 

weight    on    the  left  leg.      Repeat  six  times    in 

slow  continuous  motion. 
(J)  Forward  and  Backward  Poise :   Place  one  foot  a 

short    distance   in    front  of   the   other,  weight 

on  both.     Sway  forward,  throwing  the  weight 

on  forward    foot.     Sway  backward,    throwing 

weight  on  backward  foot. 
(c)  Oblique  Poise  :  Place  one  foot  forward  obliquely 

from    the  body.      Incline  the    weight   upon   it 

and  back  again. 
{d)  Heel    to  Toe  Poise :     Stand  on  both  feet,  heels 

together.     Sway  forward  from    heel    to    toe; 

then  backward ;  then  sideways ;    then  obliquely. 

SECOND     SERIES. 

Exercise  I. — Marching  with  Arm  Positions. 

Order  of  March. 

(a)  Arms :       1.     Wing.      Hands   resting  on    hips, 
thumbs  to  the  back. 


52  THE  GENEVIEVE  SI EB BINS 

2.  Rest.  Finger-tips  touching  at  base  of  brain, 
arras  bent,  elbows  lateral. 

3.  Bend.    Fists  at  shoulder,  elbows  down  at  sides. 

4.  Stretch.      Arms  extended  up,  palms  facing. 

5.  Reach.  Arms  extended  forward  at  shoulder 
level. 

6.  Hang.     Normal  position  at  side. 

7.  Fly.  Ascending  altitudes  at  sides,  from  hip 
overhead,  wrist  leading;  hanging  hand  when 
ascending,  i-aising  hand  back  on  wrist  when 
descending. 

8.  Arms  forward,  bend  elbows  at  shoulder  level. 

9.  Arms  extend  sideways. 

10.  Arms  extend  sideways,  rotate  at  shoulder. 

11.  Arms  extend  sideways,  bend  carrying  forearm 
up  vertically. 

12.  Shelter.  Arms  lifted  and  bent, carrying  hands 
on  head,  one  hand  on  top  of  the  otlier. 

13.  Basket  aim.  Arms  raised  overhead,  elbows 
bent,  hands  back  on  wrist  to  support  imaginary 
basket. 

14.  Wreathe  arms.  Arms  curved  overhead,  one 
palm  up,  the  other  down,  finger-tips  touching. 

{h)  Legs :     1 .    Time.      Step  in   place    marking   time 
gently. 
2.  Ordinary  walking.     (See  lesson.) 


SYSTE3I  OF  PHYSICAL  TRAINING.  58 

3,  Heels  lift,  walk  on  i)alls  of  feet. 

4,  Back  step.      Walk  backward. 

5.  Short  step.      Half  of  ordinary  step. 

6.  Long  stej .      A  long,  swinging  step. 

T.   Search    step.      Knee  bent  slightly,  ball  of  foot 

touches  first. 
8.   High  step.      Lift  thigh    to    right    angles    with 
trunk,  lower    leg  hangs  vertical,  rise  on  ball  of 
strong  foot  as  step  is  taken. 
In  class-use  blend  the  arm  and  leg  orders. 

THIRD     SERIES. 

1.  Circle  step.      Swing  free  foot  in  front  of  and  to 

the  outside  of  wrong  leg,  walking  on  balls  of  feet. 

2.  Change  step ;   catch   step.      Step   with  right  foot, 

bring  left    to  the  heel  of  right,  and  then  again 
advance  right.      Step  with  left  and  repeat. 

3.  Left  thigh.      Keep    knees  straight  and  walk  with 

strong  uplifting  of  Jiips. 

4.  Swing  leg.      Swing    right  leg  from  hip,  forward, 

backward,  and  step  07i  second    forward  swing. 
Repeat  with  left. 

5.  Side  step.      Stand   in   lateral   position,   carry  free 

right  foot  in  front    of   strong.      Describing   a 
half-moon  (concave  to  front),  place  it  outside  of 


54  THE  GENEVIEVE  STEBBINS 

strong  foot  and  immediately  transfer  weight, 
again  carrying  right  foot  to  first  position. 

6.  Hop.     Hop   twice   on    each  foot,   throwing  free 

foot  back  while  advancing. 

7.  Rnn,     Heels  lift,  knees  bend,  arms  bend,  fists  at 

breast ;  run  on  balls  throwing  free  foot  well  up 
behind,  opposition  of  arms. 

8.  Halt.     Take  one  step  after  the  order  is  given,  then 

bring  heels  together ;  in  halting  after  the  run, 
rise  on  the  balls  of  both  feet,  one  in  front  of 
the  other,  and  then  swing  weight  to  retired  foot. 

F'OURTH     SERIES. 

Henceforth,  begin  and  end  each  lesson  'with  a  re- 
spiratory exercise.  As  each  new  lesson  may  have  a  num- 
ber in  review,  this  must  now  be  left  t^  the  teacher. 
Before  the  last  respiratory  exercise  order  the  marching, 
and  take  the  breathing  standing  or  sitting.  See  "Dy- 
namic Breathing,"  page  28,  for  the  exercises. 

Exercise  I. — Foot  Flexion. 

(a)  Poise  l)ody  on  one  foot. 
(h)  Lift  the  other  lightly,  bending  knee, 
(c)  Eaise  foot  from  ankle,  first  down,  then  up. 
Repeat  several  times,  change  and  alternate;  all  to 
waltz  time. 


SYSTEM  OF  PHYSICAL  TRAININ(^.  55 

Exercise  II. — Arms  Front,   Lift  and  Lower. 

(a)  With    straight    elbow,    light    relaxed    hand,    and 

wrist  leading,   lift  arms  from    shoulders    to  a 
vertical  position  at  zenith. 

(b)  Lower ;   hand  well  back  on  wrist,  the  latter  lead- 

ing.    Repeat  several  times,  change  and  double. 

Exercise  III. — Front  LUhs  Ln  and  Out. 

{a)  Stand  in  position,  heels  together. 
{b)  Rest  hands  lightly  on  front  ribs. 

(c)  Bend   forward   at  waist,  exhaling  while  pressing 

ribs  in. 
{d)  Inhale,  pressing  ribs  strongly  out,  as  trunk  is  in 
lifted.     Repeat  several  times. 

Exercise  IV. — LLead  Bend. 

Bend    head   back  and  forward,  with  elastic  neck  pull 
each  way.     Repeat  several  times. 

KIF^TH     SERIBS. 

Exercise  I. — Foot  Side-Flexion. 

{a)  Stand    on    one    foot,    lift    the    other,  knee   bent 

slightly. 
(b)  Side  bend  of  foot  from  ankle  out  and  in.    Repeat 

several  times,   change   and  alternate,   to  waltz 

time. 


56  THE  GENEVIEVE  STEBBINS 

Exercise  II. — Arms  Side-Lift. 

(a)  Stand  on  both  feet,  hips  firm. 

(h)  Turn  elbows  in   as  arms  hang  at  sides,  and  with 

straight  locked  elbows  and  palms  outward,  lift 
.  arms   Overhead  with  wrists  leading,  until  inside 

of  wrists  meet  in  an  arch. 
((')  Descend   in  same  curve,^  wrists  leading,  and  hand 

falling  inward.      Kepeat  several  times. 

Exercise  III. —  Waist,  Side  Rih  Pressure. 

{a)   Stand  on  both  feet,  hips  firm,  and  place  hands  on 

sides,  thumbs  near  armpit. 
{h)  Exhale,  while  pressing  ribs  in. 
(c)  Inhale,  while  expanding  ribs  laterally.     Repeat 

several  times. 

Exercise  IV. — Head  Side  Bend. 

{a)  Body  in  upright  position. 

(5)  Head  to  the  side,  bend  first  right,  then  left ;   face 
front.     Repeat  several  times. 

SIXTH     SKRIES. 

Exercise  I. — Foot  Circle. 

(a)  Standing  firmly  on   one  foot,  lift  the  other  from 
the  floor,  knee  slightly  bent. 


SYSTE3I  OF  PHYSICAL  TRAINING.  57 

(h)  Describe  outward  circle  with  foot,  movement  at 
ankle.      Repeat,  change  and  alternate. 

Exercise  II. — Arm   Ch'cle. 

Describe     larffe     circle    from    front    to     back    over 
shoulder,  locked  elbows,  free  hand.      Repeat. 

Exercise  III. — Hand  and  Trunk  in  Opposition^ 

Circle. 

(a)  Stand  with  weight  on  both  feet,  keeping  hips  firm ; 
rest  hands  liglitly  upon  them. 

(J)  Descri])e  a  circle  with  trunk,  keeping  head  in  op- 
position, which  thus  describes  an  opposite  circle. 
Repeat  on  the  opposite  curve.  Caution:  Bend 
at  waist-line,  not  at  hips. 

Exercise  IV. — Head  Circle. 

{a)  Bow  head  on  chest. 

(J)  Describe  a  circle  over  shoulder,  back,  and  again 
to  front.  Repeat  on  opposite  curve.  Caution  : 
Do  this  with  extreme  relaxation,  almost  as  if 
going  to  sleep. 

SEVENTH     SERIES. 

Exercise  I. — Leg  Oblique^  Shake. 

(a)  Standing  firmly  on  one  foot,  lift  the  other  from 
the  floor. 


58  THE  GENEVIEVE  STEBBINS 

(b)  Turn  foot  obliquely  out,  point  toe  and  bend  knee. 

(c)  Carry  lower  leg  out  and  back  with  knee  flexion. 

Repeat,  change  and  alternate. 

Exercise  II. — Arms  Oblique,  Swing. 

(a)  Lift  arms  obliquely  ascending  front,  locked  elbows 

and  free  hands. 

{b)  Carry  them  down  a  little,  then  back,  describing  a 
hammock  line  or  arc  of  a  circle.  The  arc  must 
not  fall  much  below  the  shoulder  level. 

(c)  Return  on  the  same  line.     Repeat  several  times. 

Exercise  III. — Trunk  Oblique,  Bend. 

{a)  Place  feet  in  position  for  oblique  harmonic  sway. 

(b)  Keep  feet  firmly  planted  on  floor,  knees  locked 

and  sway  body  from  one  foot  to  the  other.  Re- 
peat ;   change.     Caution  extreme  hip  action. 

Exercise  IV. — Head  Oblique,  Bend. 

Keeping  face  front,  bend  head  obliquely  up  and  down. 
Repeat;  change.  Caution  :  Always  feel  the  neck  pulled, 
as  if  it  was  elastic,  in  all  these  neck  bends. 

EIGHTH     SERIES. 

Exercise  I. — Leg  Pendulum,  Swing. 
Stand  firmly  on  one  foot ;   lift  the  other  leg  from  the 


SYSTEM  OF  PHYSICAL  TRAINING.  59 

floor  and  swing    it    forward    and  backward  freely  from 
hip,  foot  escaping  floor.      Change  and  alternate. 

Exercise  II. — Arms,  Crank  Movement. 

Lift  arms  level  with  shoulder  and  make  a  movement 
backward,  as  if  turning  a  crank.  The  slioulders  must 
be  worked  vigorously.      Repeat  several  times. 

Exercise  III. — Trunk  Dervish  /Swing. 

(a)  Lift  arms  to  vertical  position  with  upward  stretch 

of  trunk. 
(h)  Bend    forward    at   hips,    touching   finger-tips    to 

floor ;     keep    knees    locked.      Repeat    several 

times. 

Exercise  IV. — Head  Ohlique,  Facing    Up  am,d  Down. 

(a)  Face  obliquely. 

(5)  Bow  head  up  and  down,  with  good,  strong,  elastic 
neck-pull. 

NINTH     SERIES. 

Exercise  I. — Leg  Side  Swing. 

(a)  Stand  firmly  on  one  leg. 

(J)  Lift  opposite  one  from  hip  and  swing  to  side  with 

toe   pointing,   observing   correct  opposition   of 

trunk.     Change. 


60  THE  GENEVIEVE  STEBBIN8 

Exercise  II. — A7'ms  Fly. 

(a)  Lift  arms  laterally  froni  shoulder,  elbows  locked, 
palms  down,  to  liip  lev^el ;    then  return  to  side. 

(h)  Carry  them  successively  to  altitude  of  shoulder, 
half-way  to  zenith,  and  last  to  zenith,  meeting 
backs  of  wrists  over  head.  Repeat  several 
times. 

Exercise  111.— Trunk  Side  Bend  with  Arm. 

(a)  Carry  free  foot  out  at  side  on  line  with  instep  of 

strong  foot. 
(J/)  Touch  toe  to  floor. 

(c)  Bend  body  to  free  side,  keeping  knee  straight,  as 

arm  on  strong  side    lifts    overhead   with  palm 
downward. 

(d)  On  assuming  upright  position,  turn  palm  outward, 

as  arm  returns  to  place.      Repeat,   change  and 
alternate. 

Exercise  IV. — Head  Turn. 

(a)  Turn  head  to  right. 

(h)  Turn  head  to  left.      Repeat. 

TENTH     SERIES. 

Exercise  I. — J{7iee  Lift.,    Toe  Point, 
(a)  Stand  firmly  on  one  foot. 


SYSTEM  OF  PHYSICAL  TRAINING.  61 

(b)  Lift  the  other  leg  tu  hip  level,  lower  leg  hanging 
with  toe  pointing.  Repeat,  change  and  alter- 
nate. 

Exercise    II. — Horizontal  Swing  of  Arins. 

{a)  Carry   arms   in   front  of  chest  at  shoulder  level, 

with  palms  facing. 
(h)  Swing  arms  horizontally  back  and  front.      Repeat 

several  times. 

Exercise  III. — Trunk    Vibration    Up  and  Dovm. 

{a)  Heels  lift. 
(b)  Knees  bend. 

{c)  "With  hands  on  hips,  vibrate  the  trunk  up  and 
down  by  alternately  raising  and  lowering  it. 

Exercise  IV. — Head  Bow,  Side  Bend. 

(a)  Head  forward  bend. 

(b)  Hold  this  j)osition  and  bend  from   side  to  side. 

Repeat  several  times. 

ELEVENTH     SERIES. 

Exercise  I. — Leg  Circle  from,  Hip. 

{a)  Cross  free  foot  in  front  of  strong,  touching  an  out- 
side point  on  line  of  instep. 
(5)  Lift  free  leg  from  hip  and  describe  a  complete  cir- 


62  THE  GENEVIEVE  STEBBINS 

cle,  carrying  free  leg  behind  strong  until  start- 
ing-point is  reached.     Repeat  and  change. 

Exercise  II. — Arm   Circumduction. 

(a)  Extend  arms    at  side  on  shoulder  level,  holding 

palms  upward. 
{h)  Describe  very  small  backward  circles  with  power  at 

shoulder. 

Exercise  III. — Trunk   Circle  from  Hip. 

[a)  Stand  on  both  feet,  hands  on  hips. 
(h)  Circle  trunk  iroxn  hips,  describing  as  large  a  circle 
as  possible.      Reverse, 

Exercise  IV. — Head  Oblique,  JBovj  Side  Bend. 

(a)  Turn  face  oblique. 

(b)  Forward  bow. 

(c)  Hold  a  and  b,  and  add  from  side  to  side  bend. 

Reverse. 

TWELFTH     SERIES. 

Exercise  I. — J^oot    Floor  and  Knee  Touch. 

(a)  Standing  at  centre  of  an  imaginary  circle,  tap 
floor  and  standing  knee  alternately  with 
pointed  toe,  following  an  imaginary  circum- 
ference half  round. 

(J)  Reverse. 


SYSTEM  OF  PHYSICAL  TRAINING.  63 

Exercise  II. — Backvjm'd  Looj)  from  Shoulder. 

(a)  Carry  upper  arm  to  shoulder  level  front,  forearm 

and  hand  relaxed, 
(h)  Describe  four  circles,    backward,  making  a  loop 

each  time,  unbending  arm  on  last  one. 

Exercise  III. — Side  Bend  of  Trunk,  Arm  over  Head, 
Tra7isfer  of    Weight. 

{a)  Carry  free  foot  at  side,  pointing  toe,  opposite  arm 

hanging  over  head. 
(J)  As  hip  muscles  lift  body,  weight  is  transferred. 
(c)  Free  hand   falls  in  front  of  face,  downward  and 

backward,    as    opposite    arm    assumes   position 

over  head. 

Exercise  IV. — Head  Back,  Side  Bend. 

(a)  Head  backward  bend. 

(b)  In  this  position  from  side  to  side  bend. 

THIRTEENTH    SERIES. 

Exercise  I — /A^>  Action,  Knee  In. 

Lift  lower  leg,  bend  knee,  point  toe,  touching  floor, 
knee  in.      Reverse. 

Exercise  II. — Arm  and  Head  in  Lateral  Opposition. 
(a)  Stand  on  right  leg. 


64  THE  GENEVIRVK  ST EB BINS 

(h)  Carry   rii^lit   ana    to   left  shoulder  as  head  turns 

right. 
{o)  Extend  arm  laterally  to  the  riij^ht  as  head  turns  to 

left,  opposing  hand. 
Caution:   In  extending  the  arm,  he    careful  to    carry 
the  ell)0\v  avS  high  as  the  shoulder. 

Exercise  III.  —  Trunk   Ohliqne   Bend. 

(a)  Place  free  foot  forward,  ohliqne,  and  clasp  fingers 

over  liead. 
(Ji)  Bend     entire    trunk     ohliquely    over    free    foot, 

slightly  hending  hotli  knees. 
{<•)  Swing  trunk  to  an  upright  position  turned  toward 

strong  leg  and  return  to  first  position.     Ilej>eat, 

reverse. 

Exercise  IY. — Head  Ohlique^  Back  Bend.,  Side  Bend. 

{a)  Head  ohlicjue,  hack  hend. 

(}))  In  a  position  from  side  to  side,  hend. 

FOURTEENTH     SERIES. 

Exercise  I. — Forward  Charge.,  Alternating  Legs. 

{a)  Carry  right  leg  forward  with  weight,  plant  foot, 
turn  toe  out  slightly  and  hend  knee.  Caution : 
Charffino:  knee  turned  out  and  retired  heel  well 
lifted. 


SYSTEM  OF  PHYSICAL  TRAINING.  65 

(l)  Return  to  place,  lieels  together, 
(f)  Repeat  several  times  on  each  side  and  then  alter- 
nate. 

Exercise  II. — Arms  and  Head  Opj/osition  Lift. 

(a)  Carry  arms  to  a  vertical  position  at  zenith  as  head 

is  bowed. 

(b)  Return   to   place  with  strong  downward  pressure 

as  head  is  bent  backward,  wrist  leading,  elbow 
locked,  i.  e. ,  tlie  arm  straight  from  shoulder  to 
wrist. 

Exercise  III. — Backward   Charging,  Alternately  Un- 
folding Arin8. 

(a)  Carry  arms  over  head  in  broad  outside  circle, 
finger-tips  touching,  one  hand  palm  up. 

(J)  Carry  foot  backward  with  weight  and  bent  knee; 
arms  extended  laterally  at  shoulder  level,  pahns 
up. 

{c)   Repeat;    change.      Alternate. 

Exercise   IV. — Head  Fowwrd,   Bow  and   Turn. 

(a)  Head  foward  bend. 

(/>)   Head  in  this  position,  right  and  left  turn. 


66  THE  GENEVIEVE  STEBBINS 

KIKTEENXH     SERIES. 

Fancy  Step  Alarching. 

Exercise  I. — Military   Heels  Lift. 

' '  Military  heels  ' '   means  heels  together,  toes  turned 
out, 

(a)  Step  with  left  foot. 
(J)  Bring  right  up  to  military  position, 
(c)  Rise  on  balls  of  feet. 

i^d)  Alternate     right    and    thus    continue    advancing, 
stopping  at  each  step  for  the  heels  lift. 

Exercise   II. — Military    Heels;    Knees   Bend. 

(a)  Step  with  left   foot,   bring   right  up  to  military 

position, 
(5)  Heels  lift ;    knees  bend, 
(c)  Alternate  and  continue  marching,  stopping  each 

step  for  the  order ;   heels  lift,  knees  bend. 

Exercise   III.  —  Toe.,  Heel   Sink. 

(a)  Carrying  left  foot  front,  oblique,   turn  knee  in, 

tap  floor  with  toe. 
(5)  Turn  knee  out,  and  touch  heel  to  floor. 
(c)  Carry  foot  forward  and  step  with  bent  knee. 
{d)  Change  and  continue  advancing. 


SYSTEM  OF  PHYSICAL  TRAINING.  67 

Exercise  IV. — Serpentine    Walk. 

(a)  Throw  leg  back,  knee  turned  in. 

(h)  Then  turn  knee   out,   as  you    advance  it  to  the 

front,  and  step, 
{c)  Change  and  continue  advancing. 

Exercise  V. — Step,    Toes    Turned    Out   and   In. 

(a)  Bring  foot  to  military  position. 
(5)  Turn  tees  out  as  far  as  possible,  then  in.      Give 
the  order :    ' '  Feet  open,  feet  close. ' ' 

Exercise  VI.  —  Oblique   Courtesy   with   Step. 

(a)  Carry  free  foot  obliquely  forward,  tap  toe,  bend 
knee  of  strong  leg  sliglitly,  bend  slightly  for- 
ward at  hips,  head  upright. 

(h)  After  tap  carry  foot  directly  in  front  and  step. 

(c)  Repeat  on  other  side  and  walk. 

SIXTEENTH  SERIES. 

Exercise  I. — Forward  and  Bach  RocTdng. 

(a)  Feet  in  position  of  backward  charge,  hands  ex- 
tended at  shoulder  lerel  front,  palms  down- 
ward. 

(h)  Transfer  weight  to  position  of  forward  charge  as 
arms  are  carried  backward,  palms  up. 


68  THE  GENEVIEVE  S'l  EBBIXS 

(<?)  On  return  to  first  position,  carry  palms  down- 
ward. 

Exercise    II. — Opposition    Side  Sioing   of  Arm  and 

Leg. 

{a)  Swing  left  leg  out  at  side,  foot  lifted,  toe  point- 
ing as  right  arm  is  carried  upward,  palm  down. 

(h)  Repeat  on  other  side. 

(<?)  Alternate  legs,  carrying  both  arms  upward,  while 
rising  on  ball  of  strong  foot. 

Exercise  III. — Bark    Kneelitig^    Hands   on    Knee. 

(a)  Carry    foot    well  back   and  kneel,  clasped  hands 

^  falling   on    outside    of    knee,   which  sliould  be 

turned   slightlv    in,    trunk  screwed    toward  ad- 

vanced  leg,    head  in    opposition,   i.    e.,  turned 

slightly  away  from  ihe  forward  leg. 

{h)  Ilise  on  advanced  foot  and  carry  the  hands  over 
the  head,  letting  them  lie  clasped  on  the  crown 
of  the  head. 

((?)  Hepeat  several  times,  and  alternate. 

Exercise  IV. — Front  Kneeling  unth    Clasped  Hands 
Over  Head. 

Carry  right  foot  well  forward  and  kneel.  Heel  of 
advanced  foot,  uplifted,  retired  leg  slightly  curved  at 
knee,  toe  well  pointed,  ti'unk  screwed  toward   advanced 


SYSTEM  OF  PHYSICAL  TRAINING.  69 

leg,  head  in  opposition,  both  arms  over  liead,  right  hand 
pahn  down,  rests  on  fingers  of  left  hand  with  palm  up, 
elbow  of  left  hand  slightly  in  advance. 

SEVENTEENTH     SERIES. 

Exercise  I.  —  Oblique  Transfer  of  Weiglit  vnth  Float- 
ing Arms. 

{a)  Extend  free  foot  forward,  oblique,  touching  toe 
to  floor. 

(J)  Lift  arms  obliquely  back  on  strong  side,  palms 
down,  hands  falling  free. 

(c)  Swing  arms  down,  front,  and  up  obliquely  on  op- 
posite side,  as  weight  is  transferred  to  forward 
foot,  heel  of  back  one  uplifted. 

In  this  exercise  the  trunk  is  twisted  strongly  to  strong 
leg,  while  the  head  is  turned  to  free,  forming  an  op- 
position to  the  arms. 

Exercise    II.  —  Ohlique    Swing   of  Arms   and   Legs. 

(a)  Stand  on  left  leg,  extend  the  right  leg  forward, 

touching  toe  to  the  floor.  As  the  right  arm  swings 
backward,  in  opposition  at  the  same  time  swing 
the  left  arm  forward. 

(b)  Change.    Alternate. 

Exercise    III. — Courtesy. 
{a)  Bowing  the  head,  carry  foot  back  on  arc  of  circle, 


70  THE  GENEVIEVE  STEBBINS 

place  it  behind  the  other  and  turn  knee  well 
out  as  it  bends  and  receives  weight  on  ball. 

(b)  Heel  of  advanced   foot  slightly  lifted    from  floor, 

knee  curves,  trunk  bends,  forward  to  free  foot, 
head  is  up  in  opposition. 

(c)  In    returning  to    upright    position,  bend   forward 

knee  as  if  to  kneel,  head  bends  slightly  forward, 
as  trunk  is  adjusted.  Lastly,  the  head  assumes 
the  erect  position. 

Exercise  TV. — Foi'ward  Charge    Comhined  with 
Courtesy. 

{a)  Carry  leg  forward  in  forward  charge,  and  back- 
ward in  a  courtesy  done  quickly  and  as  if  re- 
treating.    N.  B. — The  same  leg. 

(/>)  Hands  lightly  on  hips. 

EIGHTKENI'H     SERIES. 

Exercise  I. — Runnirig  in  Place. 

Standing  in  military  position,  arms  crooked,  hands 
clenched,  move  the  legs  as  if  running,  aiming  to  strike 
back  of  hip  with  foot,  breathing  slowly. 

Exercise  II. — Angular  Arm- Twist. 

(a)  "With  arms  hanging  at  sides,  clench  hands  and 
turn  elbows  well  in. 


SYSTEM  OF  PHYSICAL  TRAINING.  71 

(h)  Bend  elbows,  bringing  fists  to  shoulders. 

(g)  Lift  arm    horizontally  at    side,  elbows    still  bent, 

and  well  back,  front  of  wrist  to  front. 
{d)  Extend  arms  laterally,  front    of   wrist    to    back. 

Repeat,  sending  arms   upward,   then   forward, 

to  normal. 

Exercise  III. — Bend  Arms  Downward  While  Rising 
on  Toes, 
{a)  Stand  in  military  position. 

{h)  Extend  arms  sideways  at  shoulder  level,  palms  up. 

(c)  Clench  hands,  as  if  drawing  a  heavy  weight,  and 

bend  elbows  near  waist  as  you  rise  on  toes. 

Exercise  IV. — Head  Side  Bend^  TurnUj)  arid  Down. 

(a)  Head  to  the  right,  bend. 
(h)  In  this  position,  turn  up  and  down, 
(c)  Head  to  the  left,  bend,  turn  up  and  down. 
NINETEENTH     SERIES. 
Exercise    I. — Divot  on    Balls  of  Feet, 
{a)  Place  one  foot  a  little  in  advance  of  the  other. 
(h)  Rise  on  toes  and  pivot  toward  retired  foot,  which 
receives  weight. 

Exercise  II. —  Wrist- Actiori  from   Shoulder, 
{a)  Place    finger-tips    on    shoulder,  upper  arm  held 
horizontal  and  well  back. 


72  THE  GENEVIEVE  STEBBINS 

(b)  With  wrist  leading,  alternately  unbend  and  then 

again  bend  the  arm,  keeping  elbows  horizontal. 

(c)  First  both  arms  and  then  alternately. 

{d)  Carry  one  hand  obliquely  up  and  the  other 
obliquely  down,  returning  to  shoulder  and  re- 
versing the  direction  each  time. 

Exercise  III. — Forward  Charge^  Pimot  and  Courtesy. 

(a)   Charge  forward  on  right  leg. 

(J)  Pivot  as  you  rise,  weight  advanced. 

(c)  "While  in  this  position,  courtesy  and  rise. 

{d)  Bring  feet  together  and  face  front.     ^ 

Exercise  IV. — Head    Back  Bend^   Right   and    Left 

Turn. 

(a)  Head  back  bend. 

(h)  To  the  right  and  left  turn. 

TWKNTIKTH     SERIES. 

Exercise  I. — Forward  Charge,  Circle  and  Pivot. 

{a)  Charge  forward  with  right  foot. 

(l)  Describe  a  circle  with  left,  swinging  in  froTit  of 

right,  at  the  same  time  pivoting  to  right  all  the 

way  round  (whirl). 

Exercisr  II. — Fan  Action  trUh  Oi)pofiitton  Head, 
(a)  Lateral  stand  with  weiglit  right. 


SYSTEM  OF  PHYSICAL  TRAINING.  73 

(h)  Fan   held   in  right  hand,  resting  lightly  near  left 

shoulder, 
(c)  Turn  head  in  opposition  to  right. 
{d)  As    head    turns    left,    swing  fan  to    right,    back 

oblique  and  up,  elbow  held  high,  feeling  as  if 

entire  arm  was  lifted  from  hip. 
There  can  be  no  graceful  uplifted  arm-action,  which 
does  not  flow  from  the  hip  and  raise  the  ribs. 

Exercise  III. — J^a7i  Action  with  Ste])ping. 

Combine  fan  action  with  stepping,  carrying  weight 
forward  on  left  foot  when  fan  is  left  and  forward  on 
right  when  it  is  held  \\\^\  and  back.  The  trunk 
should  always  be  turned  toward  strong  leg,  which 
is  advanced. 

ExEKCisE  IV. — Head  Side  Turn^  Forvmrd  and  Back 

Bend. 

{a)  Head  to  the  right,  turn. 

(Jj)  In  this  position  forward  and  backward  bend. 

{a)  Reverse. 

TWENTY-KIRST     SERIES. 

Exercise    I. — ITarnionic    Poifie    with    Toe    Tapping. 

Start  with  side  harmonic  poise.  On  couut  one,  carry 
weight  to  right ;   on  two,  three,    four,  tap  toe  of  free 


74  THE  GENEVIEVE  ST EB BINS 

foot  lightly,  supporting  well  at  hip ;  on  five,  transfer 
weight  to  opposite  foot;  on  six,  seven,  eight,  tap  toe. 
Kepeat  forward  and  back,  and  obliquely. 

Exercise  II.  —  Combine  Arm  Circling  wnd  Horizontal 

Swing. 

{a)   Start  with  arms  extended,  horizontally  front. 
(f>)   Describe  a  circle   from  shoulder,  back,  down  to 

up  front, 
(c)   Send  arm  well  back  on  horizontal  line,  palm  up. 
{d)  On  horizontal  return,  turn  palm  down  and  retrace 

lines  described. 

Exercise  III. — Rise  on  Toes  Alternately. 

(a)   Extend  left  foot  in  front  of  right  near  instep. 

[h)  Rise  on  ball  of  left,  bringing  right  foot  near  in- 
step, well  supported  at  hips. 

(c)  Carry  weight  backward  and  place  left  foot  near 
instep  of  right. 

Perform  foregoing  lightly  and  daintily. 

Exercise    TV. — Head  Forward.,   Neck  St/retch. 

Thrust  head   forward  and  elongate  neck,  giving  it  a 
gjod   elastic  pull. 


SYSTEM  OF  PHYSICAL  TRAINING.  75 

TWENTY-SECOND    SERIES. 

Exercise  I. — I^eet  Open  and  Close. 
{a)  Stand  in  military  position,  heels  together. 
(5)  Keeping  heels  together,  open   toes  until  they  are 

laterally  parallel  with  heels. 
(c)  Close  feet,  bring  toes  well  together. 

Exercise  II. — Directing  Arm. 
Extend  the  entire  arm  in  front,  level  with  the  shoul- 
der, the  hand  lield  easily,  palm  up,  and  first  finger  ex- 
tended. Draw  the  arm  back,  still  level  with  the 
shoulder,  until  the  wrist  is  near  the  armpit,  the  elbow 
being  well  back.  Now  raise  the  elbow,  allowing  the 
hand  to  hang  lifeless  from  the  wrist.  Then  extend  the 
arm  full  length,  at  the  same  time  sinking  the  elbow  and 
the  wrist  to  the  level  of  the  shoulder,  bringing  the  entire 
arm  and  hand  to  the  same  level,  with  the  back  of  the 
hand  up  and  the  first  finger  extended,  pointing  as  far 
backward  as  possible.  Care  should  be  taken  in  this  ex- 
ercise to  keep  the  finger-tips  at  the  same  altitude  through- 
out, changing  the  relative  position  of  the  hand  and  the 
arm  by  raising  and  sinking  the  wrist  and  the  arm,  not 
the  hand. 

Exercise  III. — Trunk  Twist,  Back  Bend. 
Standing   in  position,   twist  trunk  to   right  and  then 
bend  back,  hands  on  hips.     Repeat  left. 


76  THE  GENEVIEVE  STEBBINS 

ExEKcisE  IV. — Head  Oblique^  Neck  Stretch. 

Turn  head  to  oblique  and  stretch  the  neck  as  if 
elastic. 

T^VENTY-THIRD    SERIES. 

Exercise  I. — Toe  Point,,  Swing  Free  Foot. 

Standing  firm!  J  on  strong  leg,  swing  free  foot  forward 
and  back  of  strong  leg,  foot  escaping  floor. 

Exercise    II. — Spiral  Arm. 

Raise  the  arm  in  front,  with  will  force  as  yet  only  in 
the  upper  ami.  Turn  the  arm  in  such  a  manner  as  to 
allow  the  forearm  and  the  hand  to  hang  lifeless  from  the 
elbow.  Then  pass  will  force  into  the  forearm,  raising 
it  and  unbending  the  elbow,  but  still  having  the  hand 
relaxed.  Finally,  by  a  rotary  movement  of  the  wrist, 
turn  the  palm  upward,  with  the  hand  level  with  the 
forearm.  In  this  exercise  a  gradual  development  of 
movement  takes  place,  and  unfolds  the  articulations  one 
after  another  as  the  will  force  progresses  through  the 
arm.      The  movement  should  be  continuous. 

Exercise  III. — Trunk  Twist.,  Forward  Bend. 

Stand  firm,  keep  hips  firm,  and  twist  trunk  as  far  as 
r,o.ssil)le  to  right  and  left,  and  bend  forward  at  hips. 


SYSTE3I  OF  PHYSICAL  TRAINING.  77 

Exercise  IV. — Head  Side  Bend^  Keck  Stretch. 
Bend  head  to  side,  tlien  give  the  neck  a  good  stretch, 

TWENTY -F^OURXH     SERIES. 

Exercise   I. — Flop  and  Sicituj  Free  Foot. 

{a)  As  right  foot  receives  weight,  swing  left  l)ack, 
and  then  forward  from  knee,  toe  ])ointing. 

{b)  As  left  receives  weight,  right  swings  backward 
and  then  forward. 

Exercise   II. — Solar   Cross ^    Support    Circle, 
[a)  Cross  hands  below  wrists  in  front  and  above  head. 
(h)   Throw  hands  back  on   wrist,    as   if  supporting  a 

l>asket  held  on  palms  over  head.      Spread  arms, 

bend  elbows, 
(c)   ^Maintaining      wrist     and     elbow    position,    circle 

broadly  l)ackward,  relaxing  when  nearly  down. 

Exercise  III. — Hocking  Legs.,  Circling  Arms. 
Charge  forward  with  left  leg  as  right  arm  swings  in 
large  circle  backward  from  shoulder.  As  arm  circling 
continues,  knees  bend;  as  arms  go  downward  and 
straighten,  as  arm  is  lifted,  thereby  giving  a  trunk  oscil- 
lation. 

Exercise    IV. — Head     Oblique,    Back     Bend.,      Heck 

Stretch. 
Bend  head  obliquely  back  and  then  pull  neck. 


78  THE  GENEVIEVE  STEBBINS 

TWENTY-F^IF^TH     SERIES. 

Exercise  I, — Serpentine  Leg. 

{a)  Lift  right  leg  in  front,  energy  in  upper  leg,  knee 
turned  in. 

[h)  Witli  knee  turned  out,  carry  leg  to  right,  gradu- 
ally extending  leg  as  it  takes  half- circle  to  back, 
knee  again  being  turned  in. 

(c)  Finish  by  bringing  leg  to  side  of  strong  leg. 

Exercise  II. — Serpentine  Arm. 
Sink  the  wrist,  holding  the  arm  laterally ;  then 
turn  the  wrist  until  the  fingers  point  to  the  ground,  the 
palm  out.  Now  raise  the  hand,  holding  the  wrist  still 
until  the  fingers  point  up,  and  the  back  of  the  hand  is 
out.  The  elbow,  which  has  hitherto  remained  unbent, 
now  bends  and  falls  until  the  finger-tips  touch  the 
shoulder.  Now  raise  the  elbow  level  with  the  shoulder, 
the  wrist  near  the  armpit,  hand  falling  lifelessly.  Then 
lower  the  elbow  and  turn  the  forearm  and  the  hand  so 
that  the  fingers  point  outward.  Then  straighten  the 
elbow,  extending  the  arm  out  to  the  side,  and  raise  the 
hand  by  sinking  the  wrist  by  one  quick  outward  action, 
thus  coming  back  to  the  same  position  as  in  the  begin- 
ning, the  arm  out  at  the  side. 

Exercise  III — Serpentine   Body, 
{a)  Bend  both  knees  so  that  they  are  oblique  to  each 


SYSTEM  OF  PHYSICAL  TRAINING.  79 

other,  heel  of  one  foot  to  instep  of  other,  clasp- 
ing finger-tips  over  head. 
(5)  Bend  trunk  extremely  over  to  left. 

(c)  Swing  forward  as  you  whirl  trunk  to  right. 

(d)  At  right  rise  a  little  from   the   knee,  bend  and 

and  swing  backward  as  you  continue  to  rise. 

(e)  On  the  second  revolution,  substitute  the  waist  twist 

for  the  hip  circle. 

(y*)  Separate  hands  and  make  a  third  circle  at  the  ribs 
and  shoulder,  a  sort  of  writhe,  while  spiraling 
the  arms.  Feel  the  spiral  motion  from  the 
thigh  up,  all  the  muscles  moving  and  twisting. 

[g)  Gradually  quiet  the  motion  until  zenith  is  reached, 
then  expand  the  arm  in  support  position  over 
head,  as  if  holding  basket  on  palms. 

Exercise  IV. — Ilea^I  Back^  Bend  Back^  Neck  Stretch. 
Bend  head  backward  and  then  pull  neck  as  if  elastic. 

T>?SrENTY-SIXTH     SERIES. 

Fancy  Step  Marching. 

Exercise   I. — Front    Cross,   Rise.,    Step. 

{a)  Cross  free  foot  in   front  of  strong,  then   rise  on 

balls. 
{h)  Sink, 
(c)  Step,  with  retired  foot  forward. 


80  THE  GENEVIEVE  STEBBINS 

(d)  Repeat  witli  other  foot. 

(e)  Toe  tap  backward,  then  with  same   foot  forward ; 

step  with  bent  knees.      Repeat  with  other  foot. 

ExEKcisK  II. — Side  Slide, 
{a)  Military  position.      Lift  right  heel  and  left    toes 

suddenly,  bringing   toes    together  as   left    heel 

swings  out. 
(5)  Lift  right  toes  and  left  heel  again,  bringing  heels 

together. 

Exercise   III. — Sids    Swing    of    Leg    with     Stepping 

Behind. 
Carry  right  foot  behind  left  and  swing  it    out  to   one 
side  before  advancing  and  stepping  on  it.      Repeat  with 
other  leg  and  so  advance. 

TWENTY-SEVENTH     SERIES. 

Fancy  Step  Marching  Continued. 

Exercise  I. — Step  'with  Deep   Cov/rtesy. 
Start  with    right    foot,  take  three    steps  forward ;    on 
fourth  bring  left  to  military  position.      Courtesy  on  left 
leg  and   step  forward  with  left    leg,  repeating  on    other 
side. 

Exercise  II. — Step  uiith  Peasant   Courtesy. 
Carry  right  foot  back,  take  peasant  courtesy  and  step 
forward  with  same  foot.      Repeat  on  left. 


SYSTEM  OF  PHYSICAL  TRAINING.  81 

ExEKoisK  III. — S'ivhi(/  Free  Ley  Forward  and  Back- 
ward vnth  Double  Hop. 

Right  foot  receives  weight  as  left  foot  is  swung  back- 
ward. Hop  on  right  foot  as  left  is  swung  forward.  As 
left  falls  and  receives  weight,  right  is  swung  backward. 

Exercise    IV. — S])anish  Step. 

(a)  Left  foot  front,  toe  of  right  brought  to  outside  of 
left  instep  with  these  counts :  One  left,  two 
right,  three  left.      The  left  is  planted  flat-footed. 

{b)  Reverse,  still  keeping  the  right  foot  to  the  rear ; 
thus,  one,  right  flat-foot ;  two,  left  toe  near 
right  toe;  three,  right  flat-foot  again.  Ad- 
vance in  this  way  sideways.  Then  reverse  the 
feet  and  start  with  the  right  foot  in  advance. 

For  these  side-steps  turn  the  class  to  one  side  if  there 
are  desks. 


82  THE  GENEVIEVE  STEBBINS 


PART  III. 


DRILLS. 


A  word  of  caution  is  necessary  to  those  who  attempt 
to  illustrate  these  drills  in  public.  They  require  a  well- 
developed  physique,  natural  grace,  and  perfect  aesthetic 
training  to  reveal  that  beauty  of  motion  which  has  given 
them  public  favor.  Consequently,  they  would  be  a 
dangerous  experiment  for  the  average  individual  with- 
out study  to  attempt  upon  the  platform. 

They  are  especially  adapted,  however,  for  drills  at 
commencement  exercises.  As  such,  they  will  always 
be  successful  if  the  pupils  act  in  perfect  unison.  When 
a  number  of  j^ersons  perform  any  given  exercise,  the 
lack  of  individual  grace  and  much  of  the  physical  im- 
perfection is  lost  in  the  n.ass.  The  audience  view  the 
picture  as  a  whole,  and  applaud  accordingly.  But  let 
one  person  stand  alone  upon  the  platform,  and  every 
imperfection,  either  of  personal  grace  or  of  physical  de- 
velopment, will  stand  out  as  clear  as  noonday. 

I  have  only  one  thing  more  to  say,  and  that  is  that 
the  exercises  here  given  are  in  the  form  of  notes  to 
pupils.     My  pupils  will   I    think  understand    my  terms 


SYSTEM  OF  PHYSICAL  TRAINING.  83 

and  method  of  instruction.  I  have  not  the  time  nor 
the  space  at  my  command  to  write  out  each  exercise  for 
those  uninitiated  into  my  system.  Never  forget  in  all 
your  work  my  oft-repeated  axiom  that  "life,  mind  and 
soul  "  must  be  manifest  in  your  every  action,  in  order 
to  constitute  real  beauty  of  expression. 


84  THE  GENEVIEVE  STEBBINS 


EASTERN  TEMPLE  DRILL. 

The  following  exercises  are  adapted  from  the  various 
forms  of  Oriental  worship  at  present  observed  in  Persia, 
Turkey,  and  other  parts  of  the  East.  They  do  not  fol- 
low strictly  any  one  of  the  numerous  sects  found  in  Asia, 
but  are  a  blend  of  the  ceremonials  found  variously 
among  the  Mohammedans,  the  Druses,  the  Marabouts 
and  the  Dervishes.  From  long  association  with  one 
who  has  spent  years  in  Oriental  travel,  as  well  as  fre- 
quent conversations  with  learned  natives  of  the  East,  I 
have  discovered  that  there  is  a  wonderful  unity  in  their 
faith ;  that  there  is  much  yet  for  Christians  to  learn 
from  the  so  called  heathen ;  and,  lastly,  that  while  a  sin- 
cere follower  myself  of  the  humble  Nazarene  who  sacri- 
liced  His  life  in  order  to  immortalize  the  truth  of  His 
teachingB,  I  can  not  help  admiring  the  wonderful  and 
beautiful  forms  of  motion  in  which  my  Eastern  brother 
expresses  his  adoration  for  that  great  first  cause  of 
whom  Mahomet  is  the  prophet. 

The  motive  of  the  exercise  is  religious  aspiration.  The 
tiame  motion  typifies  the  eternal  spirit,  the  origin  of  life 
and  mind.  This  is  represented  in  the  motions  to  east 
and  to  west  as  the  rising  and  the  setting  of  our  sun, 
which  gives  life  and  mind  to  the  inhabitants  of  earth. 


SYSTE3I  OF  PHYSICAL  TRAINING.  85 

The  salaam  and  form  of  the  cross  is  the  union  of  hum- 
ble adoration  and  praise  for  the  manifested  wonders  wit- 
nessed in  creation  bj  the  union  of  spirit  and  matter. 
The  imagination,  when  roused  with  these  sublime 
thoughts,  instils  a  magnetism  and  a  beauty  into  these 
movements  that  can  scarcely  be  realized  by  those  who 
see  nothing  but  mere  mechanical  motion  without  soul. 

KIRST     SERIES. 

1.  Place    the  backs  of  the  hands   on  the  forehead, 

fingers  touching,  while  standing  erect  on  both 
feet. 

2.  Extend  the  arms  to  the  sides,  palms  down,  while 

bowing  the  trunk  and  head ;  do  not  bend  the 
knees.  Be  careful  to  have  the  arms  and  trunk 
form  a  cross ;  do  not  carry  the  arms  too  far 
behind, 

3.  Turn    the    hands    and  bring  the  arms  above  the 

head,  hands  in  prayer  form,  palm  to  palm, 
M'hile  trunk  has  been  lifting. 

4.  Again  extend  the  arms  sideways,  trunk  bowing, 

5.  Raise  trunk  as  arms  sweep  above  head  to  Position 

3,  which  is  the  symbol  of  the  flame,  and  hence- 
forth will  be  named  Flame  Attitude. 

6.  Twist  the  trunk  to  the  right,  while  holding  Flame 

Attitude. 


86  THE  GENEVIEVE  STEBBINS 

7.  Extend  arms  sideways,  bowing  trunk  in  reverence 

to  rising  sun. 

8.  Return  to  erect  Flame  Attitude,  facing  front. 

9.  Twist  the  trunk  to   tlie  left,  holding  Flame  Atti- 

tude. 

10.  Extend  arms  sideways,  bow  trunk  in  prostration 

to  setting  sun. 

11.  Return  to  erect  position,  Flame  Attitude,  front. 

12.  Bow  to  altar  front,  arms  extending  sideways,  palm 

down. 
In  all  forward  bowing,   palms  should   be  down  and 
great  care  taken  to  have  a  flat  back  and  the  hands  level 
with  the  forearm. 

SECOND     SERIES. 
This  series  may  be  used  as  a  continuation  of  the  First 
Series,  or  independently. 

1.  Flame    Attitude,   facing   front,  standing   on  both 

feet. 

2.  Bring  arms  down,  hands  held  in  prayer  form  on 

chest. 

3.  Return  to  Flame  Attitude. 

4.  Again  bring  arms  down,   hands  held   in    prayer 

form  on  chest. 

5.  Carry  hands   in  prayer   form  to  right    shoulder, 

bending   them    gently    from    the    wrist,    while 
bending  head  to  right  to  rising  sun. 


SYSTEM  OF  PHYSICAL  TRAINING.  87 

6.    Return  to  front,  hands  as  in  Position  4. 

T.    Carry  hands  in  prayer  form  to  left  shoulder,  head 

bending  and  turning  gently  to   left  to  setting 

sun. 

8.  Return  to  Position  4. 

9.  Raise  arms  to  Flame  Attitude. 

10.  Hold  Flame  Attitude  of  arms  and  gently  sway  the 

body  sideways,  moving  only  from  the  waist,  as, 
one — right,  two — left,  three — right,  four — 
left. 

11.  Hold  Flame  Attitude  and  circle  the  trunk  at  the 

waist  twice  around.  These  latter  movements 
symbolize  the  flickering  and  blowing  flame. 

12.  Returning  to  erect  Flame  Attitude,  bow  to  altar 

in  front,  while  sweeping  arms  to  cross  form,  ex- 
tending sideways. 

THIRD     SERIES. 

This  series  may  be  a  contiimation  of  the  last,  or  can 
be  given  independently. 

1.  Return  to  Flame  Attitude. 

2.  Stand  in  Prostrate  Attitude  (Courtesy  Attitude), 

right  leg  behind,  while  extending  the  arms 
sideways,  palms  up,  trunk  carried  well  back, 
head  back.  Be  careful  that  the  arms  form  a 
cross  with  the  trunk,  and  that   the  hands  are 


88  THE  GENEVIEVE  STEBBINS 

level  with  the  wrist.  This  is  the  receptive  cross 
form . 

3.  Bend  forward  leg  as  if  intending  to  kneel  as  you 

sway  forward  on  it,  while  carrying  the  form 
to  Flame  Attitude  as  the  body  regains  Po- 
sition 1. 

4.  Twist  trunk  to  right,   Flame  Attitude ;   keep   the 

feet  to  the  front,  standing  on  both  of  them  in 
Respect  Attitude. 

5.  Bend  trunk  back  at  waist,  while  extending  arms 

to  cross  form,  palms  up.  Keep  feet  to  the 
front. 

6.  Return  to  Flame  Attitude  front. 

7.  Twist  trunk  at  waist  to  left,  to  setting  sun,  Flame 

Attitude. 

8.  Bend  trunk  back,  arms  in  receptive  cross  form, 

9.  Return  front  to  Flame  Attitude. 

10.  Left  leg  back,  receives  weight  in  Prostrate  Atti- 

tude, while  arms  extend  to  receptive  cross  form 
as  trunk  and  head  are  thrown  back.  Do  not 
exaggerate  this. 

11.  Return  to  erect  attitude  as  described  in  Position  3 

of  this  series. 

12.  Bow  trunk  forward  as  arms  extend  sideways,  palms 

down,  prostrate  cross  form.  Keep  the  weight 
on  both  feet  and  the  knees  erect. 


SYSTEM  OF  PHYSICAL  TRAINING.  89 

KOTJRTH     SERIES. 

This  series  may  be  a  continuation  of  the  last,  or  used 
independently. 

1.  Prayer  Attitude,  hands  on  chest. 

2.  Flame  Attitude  attained  by  raising  hands  in  prayer 

form  above  head  as  the  legs  bend,  and  kneel  first 
on  one  knee,  quickly  ])lacing  the  other  knee  on 
the  ground,  final  attitude  being  on  both  knees — 
the  supreme  prayer  form. 

3.  Extend   arms   sideways  in  prostrate  cross  form  as 

trunk  bows.  Strive  to  have  a  flat  back.  Return 
to  2. 

4.  Flame   Attitude  of  arms,  trunk  sideways  bending, 

one — right,    two — left,  tliree — right,  four — left. 

5.  Body  backward   bending,  while  arms  take  recep- 

tive cross  form,  palms  up.  Brace  your  toes 
firmly  against  the  floor  to  prevent  falling 

6.  Twist  trunk  to  right  to  rising  sun.  Flame  Atti- 

tude of  arms  and  hands.      Preparation  for  7. 

7.  Trunk  backward  bending,  arms   sideways  extend- 

ing, palms  up,  head  thrown  b^ck,  receptive 
cross  form,  knees  to  the  front. 

8.  Flame  Attitude  front. 

9.  Twist   trunk  to  left,  to  setting  sun,  trunk  bending 

backward,  arms  extending  in  receptive  cross 
form. 


90  THE  GENEVIEVE  STEBBINS 

10.  Flame  Attitude  front. 

11.  Trunk  bending  backward,  arms   extending  recep- 

tive cross  form  ;   toes  braced. 

12.  Returning   to   Flame    Attitude,  rise  and  sweep  a 

forward  prostration  to  the  altar. 
In   the  foregoing  series  the  pupil   should  strive  for 
exact  positions,  firm  attitudes,  even,  straight  lines.    For 
development  of  chest,  back,  etc.,  these  exercises  can  not 
be  excelled. 


SYSTEM  OF  PHYSICAL  TRAINING.  91 

THE  ENGLISH  DRILL, 

The  May. 

The  English  Drill  is  so  called  from  its  being  a  stud}' 
of  the  old-fashioned  country  festivals  that  once  made 
the  merrymaking  of  England  world  famous.  Performed 
on  the  greensward  to  celebrate  the  May,  we  know  it 
only  now  as  a  circling  about  the  May-pole.  The  old 
English  songs,  light  marches,  etc.,  furnish  the  time. 
The  costume  should  be  that  known  as  the  Dolly  Yarden, 
something  like  a  Dresden  China  Shepherdess. 

Strive  to  feel  the  joy  of  spring-time  in  your  every  mo- 
tion. 

Figure  I. 

1.  Side  Curve.      Arm  hanging  at  side  is  turned  palm 

up  and  the  arm  is  slowly  raised,  elbow  bending, 
wrist  leading,  hand  dropping  back  on  wrist. 
Continue  arm  raising  until  the  zenith  is  reached, 
then  hand  falls  forward. 

2.  The   arm   is   slowly  lowered,  keeping  well  at  the 

side  with  bending  elbow  and  forward  hanging 
hand.  Perform  this  curve  four  times  with  the 
right    arm,    the     left    toe    pointing  at    the    side 


92  THE  GENEVIEVE  UTEBBINS 

and  the  trunk  left  bending.     Perform  four  times 

on  the  opposite  side. 
3.   Both  arms  should  now  Ije  used  as  the  body  sways 

in  harmonic  poise,   forward  and  back. 
Four    measures  must  be  allowed    for  each  curve,   a 
count  to  a  measure. 

Figure  II. 

1,  Oblique  courtesy.       The  right  foot  is  carried  out 

right  forward  oblique.  The  knee  is  straight, 
the  toe  is  pointed,  the  trunk  is  bent  right  for- 
ward oblique,  left  knee  slightly  bends,  the  head 
is  raised  in  opposition  to  the  trunk.  Fancy  that 
you  bow  merrily  to  a  comrade.  One  measure  or 
ccunt  must  be  allowed  for  the  advanced  foot  ac- 
tion, one  for  the  return.  Perform  four  times  on 
the  right,  then  four  times  on  the  left.  Finally 
perform  eight  times,  alternating  from  right  to 
left. 

2.  Cross  wave,  long  serpentine,  is  what  is  used  in  the 

diagram  to  express  the  following  motions :  (a) 
The  right  forearm  is  carried  across  the  chest, 
hand  is  relaxed  and  falling  near  left  arnjpit. 
This  is  the  cross  motion,  (h)  Arm  is  then 
carried  out  sideways.  Simultaneously  the 
wrist  turns.      This  is  the  ware,      (c)   Wrist  leads 


SYSTEM  OF  PHYSICAL  TRAINING.  93 

the    hand    curved    over    liead.       Hand    thrown 
backward,    then     the    wrist     leads     the      hand 
diagonallv    back    down.       Pahn     must    be    out. 
This  is  the  long  serpentine  motion. 
In   all    of    these  motions  the    free  hand  should  rest 
gracefully  on  the  thigh  or  hold  the  dress  daintily.     Per- 
form  twice   on  the  right,    twice  on  the    left  and  four 
times  with  both  arms.     Sway  to  the  right  on  two  counts 
of    the  motion  and  to   the  left  on  the  final  two  counts. 
Sway  forward  and  back  when  using  both  arms. 

FiGUKE  III. 

1.  Country  courtesy.  It  is  so  named  because  it  is 
essentially  the  manner  of  making  a  reverence  as 
performed  by  country  lasses,  {a)  The  right  toe 
is  carried  behind  and  placed  near  the  instep  of 
the  left  foot,  {h)  Both  knees  bend,  (c)  Both 
knees  straighten,  {d)  The  right  foot  is  returned 
to  place.  The  proper  position  for  standing  is  to 
place  one  foot  a  little  in  advance  of  the  other,  so 
that  the  heel  of  the  advanced  foot  is  near  the  in- 
step of  the  retired  foot,  the  weight  being  carried 
by  the  retired  foot.  Perform  four  times  with 
the  right  foot,  then  four  times  with  the  left  foot, 
finally  eight  times  alternately  right  and  left. 


94  THE  GENEVIEVE  STEBBINS 

2.   Cross  wave  long  serpentine  is  now  performed  twice 
on  each  side  and  four  times  alternatelj. 

Figure  IV. 

1.  Full   wreath  anus  with  front  cross  leg  is  a  way  of 

abbreviating  the  following  :  Place  finger-tips  of 
one  hand  down  in  upturned  fingers  of  the  other, 
forming  a  wreath  of  the  arms.  Then  raise  them 
over  the  head  as  the  right  leg  crosses  in  front  of 
the  left  and  the  toe  is  pointed.  Drop  the  arms, 
still  with  finger-tips  touching,  as  foot  returns  to 
place.  Four  counts  must  be  given  to  the  motion. 
Perform  twice  with  the  right  leg,  twice  with  the 
left  leg,  then  four  times  alternately. 

2.  The  same  action  is  performed  with  the  arms  held 

out  at  shoulder  level  while  the  leg  is  carried 
crossing  back.  The  trunk  slightly  reverses  and 
the  head  looks  over  the  shoulder  to  the  front- 
Perform  the  same  number  of  times  as  before : 
Two,  two,  and  four. 

Figure  V. 

1.  Flower  holding  hand,  toe  pointing  in  opposition,  is 
the  abbreviated  form  of  the  following  movement : 
Curve  the  right  arm,  wrist  leading  diagonally  and 


SYSTEM  OF  PHYSICAL  TRAINING.  95 

sideways,  then  a  slight  return  action  of  the  wrist 
places  the  hand.  A  flower  is  held  l)etween  the 
lingers  so  that  it  is  poised  up  and  out  from  the 
head.  The  face  turns  and  looks  up  at  it  while 
the  left  toe  points  left  oblique  on  tlie  opposite 
side  of  the  arm.  One,  two,  is  counted  wliile  the 
position  is  held.  On  three  the  hand  is  carried 
down.  Four  is  used  as  a  preparation  and  as  part 
of  the  next  ascent.  Perform  twice  with  the  rigiit 
arm  and  twice  with  the  left  arm,  finally  four 
times  alternately. 

2.  The  oblique  courtesy  has  been  described  in    Fig. 

II.  Perform  twice  with  the  right  leg,  twice 
with  the  left  leg  and  four  times  alternately. 

3.  Repeat  the  flower  movements  four  times    alterna- 

ting from  side  to  side. 
On  the  last  count  take  full  wreath  form. 


Side  curve  (1) 
Side  pt.  toe  op. 
Har.  p.  bk.  rev.  turn 


( 


DIAGRAM. 
I. 

R.  arm 

I.,  foot 
4 


Music  :  March  or  waltz 
L.  arm  B.  arms 

R.  foot  Har.  p. 

4  8 


II. 

(I) Ob.  court,  i* 

R.  ob. 

L.  ob. 

alt.  ob. 

Ob.  toe  pt.      i 

4 

4 

8 

(2)  Cr.  wave         ^ 
Long  serp.           |- 
Har.  p.  and  op.   ) 

R.  arm 

L.  arm 

B.  arms 

2 

2 

4 

III. 

(1)  Country  court. 

R.  leg 

L.  leg 

alt.  leg 

4 

4 

8 

(2)  Cr.  wave  and  } 

R.  arm 

L.  arm 

B.  arm 

Ix)ng  serp. ,  etc.     ^ 

3 

2 

4 

IV. 

(1)  Full  wreath  A  / 

R.  leg 

L.  leg 

alt.  leg 

and  fr.  cr.  leg         ) 

2 

2 

4 

(2)  Full  wreath  A  { 

R.  leg 

L.  leg 

alt.  leg 

and  bk.  cr.  leg       ) 

2 

2 

4 

(1)  Flower  hold  h.    { 
Toe  pt.  op.               ) 

V  . 

R.  arm 

L.  arm 

alt.  arms 

2 

2 

4 

(2)  Ob.  court. 

R.  leg 

L.  leg 

alt.  leg 

2 

2 

4 

(3)  Repeat  (1). 

alt.  arm 

4 

N.  B. — In  final  attitude  take  wreath  for  finish.  Fancy  march 
step  with  waving  arms  for  entrance  and  exit. 

Abbreviations  used  in  "The  May  :"  Alt,  alternate  ;  b.,  both  ; 
bk.,  back  ;  court.,  courtesy  ;  fr.,  forward  ;  h.,  hand  ;  L.,  left  ; 
ob.,  oblique  ;  R.,  right  ;  bar.,  harmonic  ;  p.,  poise  ;  pt..  point ; 
rev.,  reverse  ;  serp.,  serpentine. 


SYSTEM  OF  PHYSICAL  TRAINING.  »7 


ENERGIZING  DRAMATIC  DRILL. 

Ill  tlii^;  drill  care  sliould  be  taken  to  inhale  slowly 
while  preparing  an  attitude,  holding  the  breath  while 
holding  the  attitude,  and  easily  exhaling  while  returning 
to  position  from  attitude.  There  should  he  a  few  mo- 
ments of  relaxation  when  the  hands  are  dropped,  viz.  : 
Breathe  in  slowly  while  doing  Positions  1  and  2  until 
attitude  is  reached ;  hold  breath  on  attitude ;  exhale 
slowly  until  yon  have  finished  Position  4.  Keep  your 
niind  intent  on  the  meaning  of  the  attitude,  and  allow 
the  face  to  show  forth  that  meaning.  Remember  that 
in  tliese  exercises  we  wish  to  show  life,  mind  and  soul. 

RIRST    SERIES. 

1.  Bring;  right  clenched  hand  to  left  shoulder,  at   the 

same  time  slowdy  clenching  left  liand,  which 
liangs  at  left  side;  head  turns  right.  The  body 
must  be  erect,  weight  on  both  legs,  left  foot 
pointing  front,  right  foot  pointing  right.  Thus 
placed,  the  feet  form  a  right  angle. 

2.  Pight    arm    extends    sideways,    fingers    pointing 

right.  Bring  left  clenched  hand  to  right  shoulder, 
turn  head  to  look  left ;  carry  the  weight  on  to 
advanced,  bent    right  leg,  as   if  running   right ; 


96  THE  GENEVIEVE  STEBBINS 

left  foot  turns  by  lifting  the  heel    slightly,  the 
toes  point  and  turn  left — all  the  foregoing  to  be 
done  simultaneously. 
Meaning :   Flight,    pointing  to    a    refuge,    calling  to 
another  to  follow. 

3.  Return  to  Position  1. 

4.  Drop  both  hands  to  sides ;   change  the  angle  of  the 

feet,  left  foot  pointing  left,  heels  together. 

5.  Repeat  1,  2,  3,  4  on  left  side. 

6.  Begin   as  in   Position    1,  except  that  the  head  is 

front. 

7.  Advance   as  in   running;    forward  left  leg  bears 

the    weight,    right  arm  a    little  oblique,   points 
forward,  head   thrown   well  back,  left  arm  bent 
and  drawn  backward,  hand  clenched. 
Meaning:   Excited  observation,  as  if  saying  "  Look! 
Look!" 

8.  Return  to  Position  1. 

9.  Drop  arms;   change  the  angle  of  the  feet  so  that 

the  right  foot  points  forward.  Do  this  by  a 
pivot  on  the  heels. 

10.  Repeat  Position  7  on  the  opposite  side,  advancing 

on  right  leg  and  pointing  left  hand.  Observe 
the  opposition  here  between  tlie  strong  advanced 
leg  and  the  forward  arm. 

11.  Return  to  Position  1,  reversed  to  left. 


SYSTEM  OF  PHYSICAL  TRAINING.  99 

12.  Drop  hands  to  sides. 

13.  Position  1,  feet  turned  out  60  degrees,  head  front. 

14.  Courtesy  backward    by  carrying  the  right  leg  be- 

liind  and  bending  the  right  knee,  Prostrate  Atti- 
tude. At  the  same  time,  extend  the  right  arm 
forward,  hand  pointing,  head  thrust  forward 
and  a  little  down,  left  arm  bent  and  drawn  a 
little  back,  hand  clenched. 

15.  Return  to  Position  13. 

16.  Drop  hands  to  sides. 

17.  Repeat  Position  14,  reversing  arms  and  legs. 

18.  Return  to  Position  13,  reversed  arms. 

19.  Drop  hands  to  sides. 

These    retreating    attitudes    show  shrinking,   horror, 
while  the  hand  points  at  the  object  feared. 

SECOND    SERIES. 

1.  Position,  arms  hanging  at  sides. 

2.  Bring  both  arms  (clenched  hands)  overhead  (sweep 

the    arms   up    front,    describing  a  portion  of  a 
circle),    bending    elbows  and  carrying  clenched 
hands  back  a  little,  head  thrust  forward  slightly; 
advance  right  leg  as  in  running. 
Meaning :     Anger,   attack. 

3.  Bring   clenched   hands  to  shoulders,  returning  to 

first  position  of  feet. 


100  THE  GENEVIEVE  S'lEBBINS 

4.  Drop  arms  to  sides. 

5.  Repeat  Position  2,  left  leg  forward. 

6.  Repeat  Position  3. 
T.  Repeat  Position  4. 

8.  Repeat  arm  motions  of  Position  2,  wliile  the  right 

leg  is  in  prostration  behind. 

9.  Return  to  Position  3. 

10.  Drop  arms  to  sides. 

11.  Repeat  Position  8,  left  leg  behind. 

12.  Return  to  Position  3, 

Meaning  :  The  prostrate  legs  carry  the  body  into  a 
meaning  of  recoil,  but  the  arms  still  sliow  attack.  The 
face  should  show  repulsion  and  horror.  In  all  of  these 
attitudes  strive  for  facial  expression. 

THIRD     SERIES.  * 

1.  Advance  right  leg  as  if  running  front  oblique. 
Carry  first  on  right  thigh ;  carry  right  arm 
crooked,  a  little  back. 

2.  Return    to    position,    weight    on  both  feet;    drop 

hands. 

3.  Repeat  Position  1,  reversing  arms  and  legs. 

4.  Return  to  Position  2. 

5.  Carry  right  leg  back,  bending  knee ;   at   the  same 

time,  bringing  right  arm  over  head  curved,  as  if 
holding  a  shield  to  shelter  behind,  left  liand 
drawn  back  and  clenched. 


SYSTEM  OF  PHYSICAL  TRAINING.  101 

6.  Return  to  ordinary  position,  hands  at  sides. 

7.  Repeat  Position  5,  reversing  the  sides. 

8.  Return  to  position. 

Meaning  :  That  of  the  first  two  attitudes  of  the  Third 
Series  denotes  excited  observation,  intention  of  throw- 
ing— then  for  the  sake  of  the  exercise,  transfer  the 
action  to  the  left.  The  meaning  of  the  retreating  atti- 
tudes is  defense,  and  the  right  arm  seems  to  liold  the 
shield.  For  exercise  this,  too,  is  also  done  at  the  left 
side. 

KOTJRTH    SERIES. 

1.  Position,  arms  hanging. 

2.  Advance  right  leg  as  in  running,  arms  sweep  up- 

ward, hands  extended,  head  thrown  back.  Do 
not  carry  the  arms  too  high ;  they  should  be  held 
ascending  front. 

3.  Clench  the    hands   and    bring   them   over  head  to 

shoulders,  continuing  to  Position  1  of  feet  and 
hands. 

4.  Advance  left  leg  and  repeat  Position  2. 

5.  Repeat  Position  3. 

6.  Retire  right  leg.  Prostrate  Attitude.     Sweep  arms 

up  imploringly. 
T.   Return  ai  in  Position  3. 
S.   Repeat  Position  6,  reversing  the  leg. 

9.  Return  to  Position  1. 


102  THE  GENEVIEVE  STEBBINS 

Meaning :  First  two  attitudes,  excited  ap})eal ;  last 
two  attitudes,  despairing  appeal. 

Do  not  confuse  the  attitudes  with  the  merely  transi- 
tion positions. 

rif^th:  series. 

1 .  Position. 

2.  Kneel  forward,  right    knee   on  ground,  right  arm 

curved  as  if  making  a  shield  of  the  arm, 

3.  Return  to  position,  making  a  transition  position  by 

bringing  the   right  clenched  hand  to  left  shoul- 
der. 

4.  Repeat  Position  2,  left  knee  on  ground. 

5.  Return  as  in  Position  3. 

6.  (^arry  riglit  knee  back  and  kneel,  both  hands  lifted 

in  front  of  face  as  if  pushing  sometliing  away. 

7.  Return  to  position. 

8.  Repeat  Position  G,  reversing  knee. 

9.  Return  to  position. 

Meaning :  First  two  attitudes,  a  fight  that  has  thrown 
the  fighter  to  the  ground  ;  the  arm  is  raised  for  defense ; 
last  two,  the  fighter  is  being  crushed  to  the  ground  and 
is  overcome  with  fear. 

Every  attitude  should  be  made  intensely  dramatic, 
and  yet  the  drill-forms  maintained,  Keep  the  hands 
clenched,  except  when  contrary  directions  are  given. 
Facial  expression  must  accompany  every  attitude,  and 
energizing  breathing  and  relaxing  carefully  observed. 


SYSTEM  OF  PHYSICAL  TRAINING.  103 

THE  SPANISH  DRILL. 

The  Carmen. 

This  is  called  the  Spanish  Drill,  as  it  consists  of  a  col- 
lection of  beautiful  Spanish  motions  with  the  famous 
mantilla  or  scarf.  Among  modern  nations  tlio  Spanish 
stand  supreme  for  graceful  action  and  the  lus-t  remnants 
of  the  ancient  pantomime  is  still  found  among  them. 
An  enjoyment  of  all  that  is  graceful  and  lovely  should 
pervade  your  thought,  as  you  daintily  raise  the  mantilla 
while  the  body  sways  and  the  feet  mark  the  rhytlim  of 
the  music. 

FiGURK    1 . 

1.  Mantilla  Raising.      Catching  the  lace  daintily  be- 

tween the  thumb  and  second  finger, — after  first 
pinning  it  on  both  shoulders — raise  the  right 
hand  to  about  the  lieiglit  of  tlic  hips,  tlien    i^ink. 

2.  Raise  the  hand  to  tlic  height  of  the  shoulder,  then 

sink. 

3.  Raise  the  hand  half  way  between  the  shoulder  and 

the  zenith. 

4.  Raise  the  hand  over  head  to  the  zenith.      The  time 

is  the  same  for  the  last  as  for  the  first.  One 
measure  allowed  for  the   rising    and  one  for    the 


104  THE  OENEVIEVE  STEBBINS 

sinking.  Sway  on  the  right  hip,  slightly  pro- 
truding it,  in  rising  motions  of  the  arm.  Sway 
to  the  left  on  sinking,  but  not  so  strongly.  Curve 
the  unused  arm,  holding  the  mantilla  gently, 
and  rest  the  back  of  the  hand  on  the  left  thigh. 

5.  Perform  1,  2,  3,  and  ^  four  times  on  the  left. 

6.  Using  both  arms,  lift  the   mantilla.     As  the  lace 

is  fastened  behind,  the  long  ends,  when  lifted, 
form  a  beautiful  background.  The  feet  being 
brought  near  each  other,  heels  alternately  rise 
and  sink  with  the  rhythm  of  the  arm  motion, 
one  foot  in  front  of  the  other. 

7.  Both  arms  now  make  the   four  ascending   motions 

while  the  feet  alternately  cross  in  front  one  of 
the  other  and  daintily  point  the  toe. 

8.  Both  arms  ascend  to  the  zenith  as  the   feet  alter- 

nately cross  back  one  of  the  other,  pointing  toes 
near  instep. 

9.  Both  arms  again  make  the  four  ascents,  while  the 

toe  points  obliquely  front  and  back  without  cross- 
ing. The  trunk  bends  low  as  in  a  courtesy  for 
the  two  front  ones ;  look  back  over  the  shoulder 
for  the  two  back  ones. 

Figure  II. 
1.   Fancy  Step.      Standing  on  the  left  foot,  point  the 
toe  of  the  right  foot  at  the  right  side. 


SYSTEM  OF  PHYSICAL  TRAINING.  105 

2.  Carry  tlie  right  foot  behind  and  make   a  courtesy 

by  bending  both  knees,  keeping  the  weight  front. 

3.  Return  the  right  foot  to  the  right  side  and   point. 

4.  Cross  the  left  leg  with  the  right  and  point  the  right 

toe  in  front. 

5.  Stand  on  right  foot  and  point  left  toe  left  oblique, 

then,  stand  on  left  foot  and  point  right  toe    right 
oblique,  then    left,   then   right  again,   changing 
weight. 
Repeat   1,  2,  3,  and  4.      Perform    1,  2,  3,  and  4   on 
the  left  twice. 

When  the  movement  is  to  be  transferred  to  the  left, 
the  left  foot  on  four  is  brought  to  the  ground,  toe  point- 
ing obliquely  forward.  On  one  of  the  new  count  the 
same  foot  is  jjointed  at  the  side  and  the  movement  pro- 
ceeds as  previously  described.  A  slight  and  graceful 
agitation  of  the  mantilla  accompanies  the  foot  motion 
and  transfers  are  made  with  light  instep  action  and  bend- 
ing knee. 

Alternate  the  foregoing  step  four  times.  Return  to 
mantilla  raising,  making  four  gradual  ascents  with  heel 
lifting  and  sinking. 

Figure    III. 

1.   Beckon.      Stand  on   right  leg.      Raise    the    right 
arm  up   and    out  to  head   height,  then  turn  the 


106  THE  GENEVIEVE  ST  EBB  INS 

hand  and  beckon.  Sway  on  i-igbt  hip,  as  you 
make  the  arm  action. 

2.  Bring  tlie  liand   down  to  about  slioulder  level   but 

out,  and  make  a  side  movement  of  negation  as 
jou  sway  on  the  left  leg.  Fonr  counts  for  tlie 
entire  motion;  a  measure  to  a  count.  See  dia- 
gram. 

3.  Both  arms  are  used  on  the  right  side  for  the  double 

beckon  and  then  brought  down  and  placed  on 
the  hips,  while  the  trunk  turns  to  the  left  and 
the  head  looks  over  the  shoulder  to  the  right 
oblique  back.  The  weight  should  not  be  trans- 
ferred to  the  left.  Repeat.  Perform  twice  on 
the  left.      Alternate  four  times. 

4.  Mantilla  holding  and  swaj-ing  with   fancy-step  op- 

position. The  fancy  step  has  been  previously 
described.  You  must  now  add  the  arm  motion 
to  it.  On  the  last  count  four  of  the  double 
beckon"  the  left  hand  is  released  from  its  hip  atti- 
tude and  curved  over  the  head,  carrying  the 
mantilla.  On  the  count  one  of  the  new  figure 
the  toe  of  the  right  foot  is  pointed,  mantilla  held 
as  described.  On  count  two  bring  the  hand 
down  diagonally  from  right  to  left,  carrj-ing  the 
arm  as  far  behind  as  the  shoulder  will  allow  with- 
out  destroying   the  grace    of  the    action.      The 


SYSTEM  OF  PHYSICAL  TRAINING.  107 

courtesy  of  the  fancy  step  must  accompany  this 
motion.  On  count  three  the  hand  turns  on  wrist 
as  the  toe  points.  On  count  four  the  Iiand  is 
again  brought  over  the  head  as  the  foot  crosses. 
Joining  the  fingers  over  head,  form  a  wreath  or 
frame  and  for  four  counts  lightly  alternate  the 
toe  pointing,  as  previously  described.  Perform 
the  foregoing  alternately  four  times. 

Figure  IV. 

1.  Mantilla  veiling.     One,    point  the  right  toe  for- 

ward oblique,  each  hand  holding  an  edge  of  the 
lace.  Two,  raise  the  mantilla  with  both  hands 
toward  the  left,  screening  face.  Turning  the 
trunk  to  the  left,  pivot  slightly  on  left  foot. 
Three,  raise  arms  over  head,  mantilla  screening 
face,  trunk  turning  fro.it.  Four,  drop  hands 
gently  to  side,  with  large  outward  arm  motion, 
fingers  still  holding  mantilla.  Perform  twice  on 
each  side,  then  alternate  four  times. 

2.  Mantilla    raising   has    been  described    in   Fig.   I. 

Perform  with  both  arms  four  times  gradually 
ascending  while  kneeling  on  right  knee.  The 
kneeling  must  also  be  made  gradual  by  slowly 
slipping  right  foot  backward  and  knee  bends. 

3.  Mantilla,veiling  while  kneeling.     Throw  the  man- 


108  THE  GENEVIEVE  STEBBINS 

tilla   to   the  right  twice.     On  the  second  time 
kneel  on  both  knees. 

4.  With   both  hands   perform   mantilla  raising,  four 

times  gradually  ascending ;   the  fourth  time  raise 
the  right  knee  and  perform  twice. 

5.  Mantilla  raising  ascending  with  gradual  rising  and 

sinking  of  the  knees  until,  each  one  being  higher 

than  its  preceding  motion,  full  height  is  attained. 

There  must   be  four  ascending  and  descending 

motions. 
After  each  figure  a  pretty  interlude  can  be  given, 
viz.  :  {a)  Grand  Chain,  (h)  Heel  and  toe  side-step. 
(•")  Opposite  lines  cross,  fanning  gracefully  and  looking 
over  the  shoulders,  (c)  Courtesy  to  partners  and  walk 
gracefully  out,  holding  partner's  hand  high  and  fanning. 
The  costume  can  be  yellow,  trimmed  with  Spanish 
black  lace.  A  lace  mantilla  caught  at  the  shoulders, 
with  two  long  ends  falling  from  them,  is  necessary.  A 
red  rose  in  the  hair,  a  high  comb,  and  Carmen  stands 
before  you. 


DIAGRAM, 
I. 


Mantilla  Raise 
Hip  sway 
Heel  lift 


R.  arm 
4  asc. 


L.  arm 

4  asc. 


B.  arms 

alt.  fr.  cr.  ft. 

4  asc. 


B.  arms 

alt.  bk.  cr.  ft. 

4  zen. 


B.  arms 
4  zen. 
B.  arms 
alt.  ob.  toe  pt. 
4  asc. 


II. 

(1)  Fancy  Step 

) 

R.  leg 

L.  leg 

alt. 

pt.  court,  pt.  cr. 

[ 

2 

2 

4 

alt.  toe  pt. 

) 

(2)  Mant.  Raise 

I 

B. 

arms 

Heel  left 

f 

4 

asc. 

(3)  Fancy  Step,  etc 

:.. 

alt.  legs 
2 

III. 

(1)  Beckon 

\ 

R.  arm 

L.  arm 

alt.  arms 

Har.  poise 

2 

2 

4 

(3)  Double 

■ 

Right 

Left 

alt. 

Beckon 

3 

3 

4 

(8)  Mant.  hold 

) 

alt. 

arms 

Fancy  Step 

f 

4 

IV. 

(1)  Mant.  veil 

R.  leg 

L.  leg 

alt. 

3 

3 

4 

(2)  Mant.  raise 

B. 

arms 

gradually  kneel 

4 

asc. 

(3)  Mant.  veil 

[ 

R.  knee 

B.  arms. 

L,  knee 

kneeling 

2 

4  asc. 

3 

(4)  Mant.  raise 

( 

B.  arms  asc. 

slow  rising 

4 

Abbreviations  used  in  "  Spanish  Drill : "  Asc,  ascending;  alt., 
altitude ;  bk. ,  back ;  b. ,  both ;  cr. .  cross ;  court. ,  courtesy ;  f r. ,  front, 
har.,  harmonic;  L.,  left;  ob.,  oblique;  pt.,  point;  R.,  right;  zen., 
zenith;  mant.,  mantilla. 


no  THE  GENEVIEVE  STEBBINS 

THE  ROMAN  DRILL. 
The  Amazon. 

This    drill    is    called    the  Amazon  from  its  generally 
athletic    nature,  and    because  its  figures  are  principally 
studies  from  Amazon  statues  in  the  Vatican,  Rome. 
Figure  I. 

Preliminary  Exercise. 

1.  Bring  both  clenched  hands  to  shoulders,  and  count 

one. 

2.  Raise  elbows  sideways,  still  keeping  the  bauds  at 

shoulders,  count  two. 

3.  Extend    forearms   sideways,  clenched  hand,  palm 

down,  count  three. 

4.  Turn  clenched  hands    palm  up;   this  twists  entire 

arm,  count  four. 

5.  Sink  elbows  to  hips;   this  brings  clenched  hands  to 

shoulders,  palms  in,  count  one,  and  proceed  in  a 
similar  way,  up,  forward,  and  down,  four  counts 
to  each  direction.  Repeat  the  four  directions. 
Mild  prepare  for  attitude. 
Do  not  jerk  the  foregoing,  but  perform  it  like  a  yawn 
or  morning  stretch,  breathing  deeply. 

Attitude  :   Amazon  holding  a  spear  on  high,  horizon- 
tal oblique. 


SYSTEM  OF  PHYSICAL  TRAINING.  Ill 

1.  Right   leg    forward    and    strong.      Both  arms  np, 

with  bent  elbows  and  cienched  hands,  the  left 
arm  the  more  advanced  at  shoulder  level,  the 
right  arm  the  highest,  head  turned  to  left  forward 
oblique;  fancy  yourself  hurling  a  spear.  Hold 
the  pose  two  counts. 

2.  On  three  return  hands  near  shoulder  level  but  well 

out,  feet  together.     On  four  to  sides,  keep  fist. 
Repeat  on  the  same  side.     Perform  1  and  2  on 
opposite  side. 
With  same  arm  motion  carry  the  right  leg  back  and 
stand  on   it,  returning  as  from  front  position.     Repeat 
on  same  side,  and  perform  twice  on  opposite  side. 
Figure  II. 
First  Attitude  :  Running  Amazon. 
Second  Attitude  :   Amazon  drawing  the  bow. 
Perform  the  angulai"  arm  stretch    as  described  twice, 
then  take  first  attitude. 

Forward  right  leg  strong,  rignt  arm  extended, and  slant- 
ing up  from  shoulder  level,  palm  down  index  hand,  head 
looking  to  left  oblique  back,  left  arm  bent  back  near 
hip,  hand  clenched.  Hold  this  pose  two  counts.  Re- 
turn as  described  in  Fig.  I.  Repeat  and  perform  twice 
on  opposite  side.  Second  Attitude  :  Retired  right  leg 
strong,  knee  bent,  left  arm  forward,  and  extended  slant- 
ing up,   right  clenched  hand   mar   i-ight  eai-.      Return 


112  THE  GENEVIEVE  STEBBINS 

as  in  Fig.  I.  Repeat,  and  perform  twice  on  opposite  side. 
Take  attitudes  obliquely. 

Figure  III. 
Attitude  ;   Amazon  heaving  a  rock, 

1,  Perform  the  preliminary  arm    exercise  as  per  dia- 
gram. 

2.  Attitude :   Forward  right  leg  strong,  bent   knee, 

both  arms  are  held  over  the  head  with  bent  elbows, 
hands  seem  to  hold  a  huge  rock  with  intention  of 
hurling  it  below.    Finish  the  figure  as  previously 
described,  and  as  per  diagram. 
Figure  IV. 
Attitude :  Wounded  Amazon. 

1,  Preliminary  exercise  of  arms. 

2.  Attitude :  Forward    right   leg   strong,  right   arm 

back  of  head,  head  bend  to  the  back  left  oblique, 
left  hand  on  heart.  Hold  two  counts.  Return 
as  previously  described.  Repeat.  Perform  twice 
on  opposite  side.  Perform  with  retired  legs 
strong,  same  action  of  head  and  arms  as  per  dia- 
gram. 

Figure  V, 

First  Attitude  :   Amazon  charging. 
Second  Attitude :    Amazon  retreating. 
Perform  the  preliminary  exercise.     Then  take  follow- 
ing :  First  Attitude :  Forward    right   leg    strong,  knee 


SYSTEM  OF  PHYSICAL  TRAINING.  113 

bent,  right  arm  liigh  over  liead  holding  battle-ax,  left 
arm  across  body  seeming  to  hold  shield.  Perform  as 
per  diagram.  Second  Attitude :  Retired  right  leg,  knee 
bent,  left  arm  held  high  as  if  protecting  head  with  shield, 
right  arm,  which  is  the  battle-ax  arm,  held  low.  Per- 
form as  per  diagram. 

Figure  VI. 

First  Attitude  :   Amazon  with  broken  bow. 

Second  Attitude  :   The  Amazon's  vow. 

Preliminary  exercise  as  per  diagram,  then.  First  Atti- 
tude: Right  leg  strong,  right  arm  up  and  bent  at  elbow, 
so  that  forearm  is  straight  and  level  just  above  head, 
the  right  hand  being  thus  carried  to  the  left  side,  palm 
front.  The  left  arm  falls  at  left  side,  but  not  touching 
the  side.  The  hand  holds  the  broken  end  of  bow.  This 
is  a  study  from  the  most  celebrated  Amazon  statue  in 
the  world.  Be  sure  to  draw  the  figure  well  up  under 
the  arm  on  the  right  side.  Repeat.  Perform  on  the 
opposite  side  twice.  Second  Attitude :  Retired  right 
leg  strong,  right  arm  up  straight,  clenched  hand,  palm 
in,  left  arm  at  side  as  if  resting  on  shield,  clench  hand, 
head  thrown  up.  Repeat.  Perform  twice  on  opposite 
sidr. 

If  musical  phrase  needs  it,  the  heaving  attitude  can  be 
taken  at  the  end  of  each  attitude,  changed  slightly  by 
throwing  the  head  back  and  bK>adening  the  arms. 


DIAGRAM. 
I. 


(1)  Ang.  A.  out.  up,  for. 

down 

A.  arms 
2 
L.  for.  ob.  1. 

2 
L.  bk.  ob.  1. 

2 

(2)  Ama.,  hurl  spear 

R.  for  ob.  1. 

2 
R.  bk.  ob.  1. 

% 

(1)  Ang.  A.  out,  etc. 

II. 

B.  arms 
2 
L.  bk.  ob.  1. 

2 
L.  bk.  ob.  1. 

2 

(2)  Ama.  running      ) 
Ama.  draw  bow  ) 

R.  for.  ob.  1. 

2 
R.  bk.  ob.  1. 

2 

(1)  Ang.  A.  out,  etc 

III. 

B  arms 
2 
T.  for.  ob.  1. 

2 
L.  bk.  ob.  1. 

2 

(2)  Ama.  heave  rock 

R.  for.  ob.  1. 

2 
R.  bk.  ob.  1. 

2 

(1;  Ang.  A.  out,  etc. 

IV. 

B.  arms 
2 
L.  for.  ob.  1. 

2 
L.  bk.  ob.  1. 

2 

(2)  Ama.  wounded 

R.  for.  ob.  1. 

2 
R.  bk.  ob.  1. 

2 

(1)  Ang.  A.  out,  etc. 

V. 

B.  arms 
2 
L.  for.  ob.  1. 

(2)  Ama.  charge  | 

R.  for.  ob.  1. 

Ama.  retreat  S 

2 

R.  bk.  ob.  1. 
2 

2 

L.  bk.  ob.  I. 

2 

(1)  Ang.  A.  out,  etc. 

VI. 

B.  arms 
2 
L.  for.  ob.  1. 

(2)  Ama.  with  bow  ( 

R  for.  ob.  1. 

R.  bk.  ob.  I. 
2 


2 

L.  bk.  ob.  I. 

2 


Abbreviations  used  in  ' 
Aug.,  angular  ;  R.,  right 
ward  ;  ob.,  oblique. 


Tbe  Amazon  Drill  :  " 
L.,  left  ;  1.,  leg  ;  bk. 


Ama. ,  Amazon ; 
back  ;  for.,  for- 


SYSTEM  OF  PHYSICAL  TRAINING.  115 


MINUET  FAN-DRILL. 

1.  Enter,    {a)  Point  left  toe  obliqne,  fan  held  in  right 

hand    over   head,      (l)  Place  left  foot  forward 
and    carry    weight    upon    it, at   the  same  time 
gracefully  fanning  with  light  wrist  motion ;   fan 
against  breast,      {c)  Step  on  right  foot,  left  foot 
behind  close  to  right  heel ;  fan  as  before. 
Carry  the  fan  through  the  air  in  a  long  upward  curve, 
thumb  uppermost.      Just  before   poising  over  head  let 
the  little  finger  press  the  last  fan  stick  in  such  a  way  as 
to  turn  the  fan  completely ;   then    follows  a  slight  back- 
ward action  of  the  wrist,  prior   to  the  fan  hovering  over 
the  head  as  if  shading  it  from  light.      This  last  attitude 
is  reached    as    the    left    toe  again   points;   the  trunk  is 
bent  at  the  hips  toward  the  pointing  toe.     It  should  be 
throughout   a  fine    study  of   oppositions.  The  drill 

may  have  any  number  of  participants.  The  proces- 
sional minuet  step  (an  adaptation  of  the  minuet  step)  is 
continued  until  all  have  entered  and  formed  an 
ellipse. 

2.  {a)  Deep  court  courtesy  toward  centre,      (h)  The 

line  of  the  ellipse  that  is  toward  the  audience 
then  turns  facing  audience,  and  alternate  girls  of 
the  entire    ellipse   step    back  one  step ;   all  then 


116  THE  GENEVIEVE  STEJBBINS 

courtesy.  All  are  now  facing  audience  ready  to 
begin. 

3.  (a)  Toe    points    left,    right    hand    holds  fan  over 

head,  (b)  Fan  is  flourished  through  the  air  as 
described  in  No.  1.  The  trunk,  which  has  bent 
at  the  hip  toward  left  oblique  pointing  toe,  is  now 
raised  and  slightly  follows  the  rising  right  arm 
which  holds  the  fan.  Be  careful  both  of  the  se- 
quence and  the  opposition  of  motion.  Repeat 
the  entire  motion  three  times,  (c)  Raise  left  arm 
in  flowing  motion  over  head  to  meet  right  arm, 
transfer  fan  to  left  hand,  (d)  Deep  court  courte- 
sy, placing  left  leg  behind,  so  that  in  rising 
(which  is  done  by  bending  the  forward  right  leg) 
it  will  be  easy  to  point  the  right  toe  and  take  an 
attitude  with  the  left  hand  holding  the  fan  over 
the  head,  all  in  opposition.  Repeat  all  on  this 
side  as  previously  described. 

4.  Position  on  both  feet,      (a)  Girls   step    to  places, 

forming  the  ellipse.  Face  partners;  courtesy. 
(They  come  on  in  single  file,  but  are  numbered 
alternately,  one,  two.)  (b)  Ones  kneel;  twos 
glide  gracefully  around  ones,  with  long,  slow 
motions  of  the  fan,  fanning  the  kneelers.  (c) 
Ones  rise,  twos  kneel.  Ones  glide  about  twos, 
fanning  as  described,      (d)  Grand  chain,  minuet 


SYSTEM  OF  PHYSICAL  TRAINING.  117 

stepping  and  attitudes  until  half  around,  when 
kneeling  is  repeated,  {e)  Continue  grand  chain 
to  places,  courtesy  to  each  other,  {f)  Take 
original  places  by  twos,  stepping  back,  {g) 
Courtesy  to  audience. 

5.  Both  hands  hold  fan  over  head,  {a)  Deep  courte- 
sy on  right  leg,  fan  held  in  both  hands,  sweep- 
ing to  knee.  (J)  Repeat  by  courtesying  on  left 
leg.  Always  rise  from  the  courtesy  by  bending 
the  forward  knee,  then  adjusting  the  retired  leg. 

G.  {a)  Holding  fan  well  out  and  up  left,  point  right 
toe  sideways  and  look  at  it,  bending  head.  (J) 
Raise  liead  and  turn  it  to  the  left,  as  fan  is 
crossed  across  the  breast  to  right  shoulder.  This 
movement  is  a  study  in  opposition  of  head 
and  arm.  Repeat  three  times,  (c)  Holding 
fan  over  head  with  both  hands,  courtesy  as  be- 
fore, up  and  down,  opposition  of  head  and  arms. 
Drop  fan  back  of  the  head,  fan  held  in  both 
hands,  the  handle  uppermost,  for  the  start,  sweep 
over  head  and  down  to  knee  as  you  courtesy. 
{d)  Repeat  all  of  the  foregoing  on  the  opposite 
side. 

7.  {a)  Form  the  ellipse  again,  (b)  March  proces- 
sionally  in  a  spiral,  with  short,  quick  fannings. 
(c)  Form  two  lines,     {d)  Cross  fans,  forming  an 


118  THE  GENEVIEVE  STEBBINS 

archway,  down  which  head  pair  step.  They 
cross  fans  at  the  bottom  as  the  line  moves  slightly 
up.  This  is  repeated  until  all  have  gone  under 
the  arch,  (e)  Then  opposite  pairs  join  right 
hands  on  high,  fans  held  in  left  hands,  as  heads 
look  over  right  shoulders.  {/)  Turn  half 
around  and  change  hands  and  fans. 

8.  {a)  Ellipse    is   formed    again    and   places   taken; 

courtesies  are  repeated  as  in  No.  1.  {b)  All 
kneel  and  sweep  fans,  held  in  both  hands,  up 
and  down  in  opposition  to  the  bending  body; 
for  instance,  the  body  on  both  knees,  bracing 
toes  against  the  floor,  sways  back  as  far  as  it  can, 
while  the  arms  swing  forward,  and  vice  versa. 
Repeat  three  times,  (c)  Fan  in  both  hands  held 
over  head,  body  sways  from  side  to  side  twice. 
{(I)  Right  knee  is  raised;  trunk  sways  down 
obliquely  toward  it,  following  the  arm-motion  (a 
study  in  sequence).  Repeat  three  times,  (e) 
Again  on  both  knees,  hands  hold  fan  over  head, 
trunk  circling  with  fan  attitude,  fan  reversed 
back  of  head,  trunk  twisted  to  left,  head  to 
right.  Repeat  trunk  circling  and  reverse  the 
attitude.     (/")  Raise  left  knee  and  repeat  (c). 

9.  Rise,  fan  flourish  attitude,  courtesy.     Exit  in  the 

same  way  as  described  for  entrance. 


SYSTEM  OF  PHYSICAL  TRAINING.  119 

THE  ATHENIAN  DRILL. 

The  Victory. 

This  drill  is  called  the  Victory  as  there  is  a  constant 
use  of  the  grand  victory  circles,  which  mean  domination 
and  power.  The  attitudes  have  been  carefully  selected 
from  classic  models. 

Figure  I. 

Attitude  :  Amazon  holding  an  upright  spear.  (Vati- 
can.) 

1.  Forward  left  leg  strong.     Right  arm  forward  up- 

ward, holding  imaginary  spear.  Hold  this  pose 
two  counts. 

2.  Touch    fingers    over    head,     one    palm    up    and 

straighten.     One  count,  same  weight. 

3.  Descend  arms  in  broad  outside  circle,  wrist  lead- 

ing, elbows  straight,  palms  out,  as  you  sway  to 
right  retired  leg,  feet  together.     One  count. 

4.  Repeat  on  same  side.    Perform  1,   2,   and  3,  on 

opposite  side,  twice.  Reverse  the  foregoing,  turn- 
ing the  direction  of  feet  and  trunk  to  the  rear  but 
facing  the  front,  looking  over  shoulder  of  upheld 
arm.  Hold  the  reversed  attitudes  each  two 
counts.     Then   pivot   on  the  toe  to  the  front, 


120  THE  GENEVIEVE  STEBBINS 

arms  over  head,  fingers  touching.      One  count. 
Advance  forward  as  arms  sweep  down  in  outside 
curve  on  one  count. 
Victory  attitudes  can  now  be  taken  if  needed  to  finish 
the  musical  phrase, 

FiGUKE   II. 

Attitude:  Diana  of  Versailles.     (Louvre,  Paris.) 

1.  Forward    left    leg    strong.      Right    hand    taking 

arrow-head  turned  to  the  right.     Two  counts. 

2.  Touch  finger-tips  over  head  and  stretch  trunk  up- 

ward. One  count.  Descend  in  outside  curve 
a'fe  right  leg  becomes  the  strong  one.  One  count. 
Repeat  on  same  side.  Perform  twice  on  oppo- 
site side.  Reverse  the  foregoing,  head  to  the 
front,  looking  over  arrow  shoulder.  Observe 
previous  directions. 

Figure  III. 
Attitude:  Fighting  Gladiator.  (Louvre,  Paris.) 
Forward  right  leg  advanced  as  in  running,  left  arm 
out  as  if  seizing  a  bridle.  Head  looks  to  left  arm. 
Right  arm  back  right  oblique,  hand  holds  short  sword. 
Hold  this  pose  two  counts.  Return  to  position  as  pre- 
viously described.  Make  the  repeats  and  reverses  as  in 
Figs.  I.  and  II. 

Always  look  to  the  front  in  reverse  attitudes  over  ad 
vanced  arm.     If  needed,  finish  in  victory  attitudes. 


SYSTEM  OF  PHYSICAL  TRAINING.  121 

Figure  IV. 

First  attitude  :    Quoit  player.      (Louvre,  Paris.) 
Forward  right  leg  strong,  knee  bent,  left  hand  nearly 
on    knee.       Kight  arm   carried    back  and  up  in 
attitude  of  throwing  quoit.      Follow    directions 
previously  given  for  returns  and   repeats.      This 
'  attitude  is  not  reversed,  instead  the  second  atti- 

tude is  taken. 
Second  attitude  :  Dying  warrior.  (Vatican,  Rome.) 
Retired  right  leg,  strong  knee  bent,  right  arm  for- 
ward and  up,  hand  holds  olive-branch.  Returns 
repeats  as  previously  given.  The  counts  are  the 
same. 

Figure  V. 

First  attitude  :   Warrior  in  attack.     (Vatican,  Rome.) 

Forward  right  leg  strong,  knee  bent,  left  arm  squared 
over  head,  right  arm  back,,  hands  clenched.  Re- 
turns and  repeats  as  before  stated. 

Second  attitude  :   "Warrior  in  defense. 

Retired  right  leg,  strong  knee  bent,  right  arm  over 
head  squared,  left  arm  back,  hand  clenched. 
Returns,  repeats  and  counts  as  before  stated. 

There  should  be  an  extreme  bending  of  the  knee  in 
all  of  these  warrior  attitudes. 


132  SYSTEM  OF  PHYSICAL  7  liAINIXG. 

Figure  VI. 

Attitude:    "Win sred  Victory.     (Rome.) 

Forward  right  leg,  anus  over  liead  in  circle,  left  arm 
a  little  straighter  and  higher  than  right,  index-linger 
curved,  but  up.  Returns,  repeats  and  reverses  as  pre- 
viously described. 

March  on  and  off. .  The  counts  are  arranged  for  very 
slow  time,  two  counts  to  one  measure.  If  the  time  is 
quicker,  double  the  counts.  Greek  costume  must  be 
used.  Winged  Victory  is  sometimes  added  to  each 
figure  if  the  musical  phrase  needs  it ;  in  which  case  do 
not  perform  it  as  Fig.  VI. 


Amazon  att. 


Reverse 


Diana  att. 


Reverse 


DIAGRAM. 

Music:  March  Tune,  Andante. 
I. 

For.  R.  arm,  L.  leg  For.  L.  arm,  R.  leg 

2  2 

Back  R.  arm,  L.  leg  Back  L.  arm,  R.  leg 

2  2 


II. 

For.  R.  arm,  L.  leg 

2 
Back  R.  arm,  L.  leg 

2 


For.  L.  arm,  R.  leg 

2 

Back  L.  arm,  R.  leg 

2 


III. 
Fighting  Gladiator  att. 

For.  R.  leg,  L.  arm  For.  L.  leg,  R.  arm 

2  2 

Reverse  Back  R.  leg,  L.  arm         Back  L.  leg,  R.  arm 

2  2 

__ 

1.  Quoit  Player.    2.  Dying  Warrior  iatts. 
Ist  att.  For.  R.  leg,  L.  arm  For.  L.  leg,  R.  arm 

2  2 

2nd  att.       Back  R.  leg.  For.  R.  arm    Back  L.  leg,  For.  L.  arm 

2  2 

—  _  ^ 

1.  Warrior's  Attack.     2.  Warrior's  Defense. 
Ist  att.  For.  R.  leg,  L.  arm  For.  L.  leg,  R.  arm 

2  2 

2nd  att.       Back  R.  leg.  For.  R.  arm    Back  L.  leg,  For.  L.  arm 

2  2 


VI. 


Winged  Victory. 


Reverse 


For.  R.  leg,  arms  up  For.  L.  leg,  arms  up 

2  2 

Back  R.  leg,  arms  up  Back  L.  leg,  arms  up 

2  2 


124  THE  GENEVIEVE  STEBBINS 

THE  GREEK  DRILL. 

The  Nymphs. 

This  is  called  the  Greek  Drill  aud  named  ' '  The 
Nymphs  ' '  because  it  is  a  study  of  the  beautiful  motion 
often  carved  to  represent  the  various  actions  and  sport- 
ive grace  of  those  ideal  creations  of  the  Greek  fancy, 
supposed  to  people  wood,  water,  air,  and  fire. 

Figure  I. 

1.  Unveil.     Gradually  seem  to  lift  a  long  veil,  na- 

ture's veil  concealing  the  fairy  forms.  Circle 
the  right  arm  over  the  head,  while  swaying  on 
the  right  hip,  harmonic  poise,  lateral  action. 
Continue  this  hip  sway  and  arm  circling  four 
times,  then  perform  the  same  motions  the  same 
number  of  times  on  the  left. 

2.  Alternate    arms    four   times  with  harmonic  poise 

right  and  left. 

3.  Perform  the   motion  of  the  arms  with  both  arms 

four  times,  harmonic  poise  forward  oblique  and 
back  oblique.     Reverse  the  back  oblique  ones  a 
little,  facing  the  front.     Each  arm  circling  takes 
four  measures. 
Make  oppositions  of  head  and  arm. 


SYSTEM  OF  PHYSICAL  TRAINING.  125 

Figure  II. 

This  figure  symbolizes  the  water-nymphs,  the  swim- 
ming, floating  and  sudden  uplifting  as  in  a  spray. 

1.  Begin   with  a  lateral  swimming  motion,  one  arm 

following  the  other  as  if  you  would  lie  on  the 
water.  Sway  the  arms  to  the  right  oblique 
back  as  the  weight  is  received  by  the  right  leg 
retired  w^ith  bent  knee. 

2.  Expand   the  arms  as  you  sway  the  weight  to  the 

left  leg  forward  oblique.  Observe  the  following 
counts.  Two  measures  of  music  to  each.  One, 
right  leg  retired  strong.  Two,  left  leg  forward 
strong.  Three,  right  leg  retired  strong.  P"'our, 
left  leg  forward  strong.  Five,  right  leg  retired 
strong.  Six,  carry  the  left  leg  behind  the 
right  leg  and  make  it  the  strong  leg.  Seven, 
the  right  leg  forward  receives  the  weight  while 
the  arms  drop.  Eight,  the  left  leg  is  now  ad- 
vanced in  front  of  the  right  leg  and  receives  the 
weight  as  the  right  arm  is  swept  up,  pointing  up 
like  the  statue  of  the  Flying  Mercury.  This 
represents  the  rising  of  the  spray. 
Repeat  same  side,  then  perform  twice  on  the  opposite 
side.  Lift  the  arms  over  the  head,  finger-tips  touching 
after  taking  the  Mercury  attitude  before  repeating  or 


126  THE  GENEVIEVE  STEBBINS 

changing.  The  feet  also  must  be  brought  together.  In 
the  Mercury  attitude  one  foot  is  raised  from  the  floor, 
but  can  be  taken  without  so  doing. 

Figure  III. 

This  figure  symbolizes  the  wood-nymph  as  she  flies 
through  the  forest  and  sways  on  the  boughs. 

1.  Lightly    touching   finger-tips    over   head,    imme- 

diately bring  the  arms  down  in  a  broad  circling 
motion  until  the  arms  are  expanded  at  shoulder 
level.     Right  leg  forward  is  strong. 

2.  The   arms  are   now   swept  to  the  left,  rising  until 

finger-tips  touch.  One  palm  up,  the  other  down. 
Wreath  form,  trunk  a  little  reversed,  face  to  the 
front,  weight  on  left  leg  retired. 

3.  Pivot  on  toes  to   the  front,  left  leg  strong  while 

expanding  the  arms. 

4.  Advance  on   right  leg,  touching  finger-tips  over 

head,  one  palm  up.  Eight  measures  must  be 
allowed  for  1,  2,  3,  and  4. 

5.  Bringing  the  feet  together,  sway  at  the  waist  from 

side  to  side,  arms  wreathed  over  head  during 
eight  measures.  Repeat  on  the  same  side. 
Perform  1,  2,  3,  4,  and  5,  twice  on  the  oppo- 
site side. 


SYSTEM  OF  PHYSICAL  TRAINING.  127 

Figure  IV. 

This  one  is  a  figure  in  the  nymphs'  dance  to  Apollo. 
It  represents  extreme  humiliation  in  the  bowed  attitude 
and  adoration  of  the  risen  sun  in  the  upright  one. 

1.  Touch  fingers  over  head  and  then  bend  the  trunk 

very  low  over  the  right  leg,  oblique  line.  The 
weight  is  on  the  left  leg  retired.  Two  measures 
must  be  allowed. 

2.  Separate   the  fingers  and  turn  the  hands,  uplifting 

trunk,  ai'uis,  and  head  in  a  prayer- offering  mo- 
tion, drawing  the  forward  foot  in  and  turning  to 
the  left  oblique.  Do  not  change  the  weight. 
This  is  done  to  two  measures. 

3.  Repeat  three  times. 

4.  Perform  motion  and  repeats  on  the  opposite  side. 

5.  Alternate  from  side  to  side  eight  times,  gradually 

reversing  trunk ;  but  face  to  the  front  as  the 
hands  uplift. 

FiGUKE   Y. 

This  symbolizes  the  flame.  It  sinks  and  rises  and 
coils,  and  finally,  as  matter  in  fire  goes  upward  to  God, 
so  the  flame  form  is  the  prayer  form. 

1.  Slowly  kneel  by  bending  the  right  knee  and  slip- 
ping the  left  foot  farther  and  farther  behind  you, 
swaying  the  arms  laterally  while  doing  so.   Allow 


128  THE  GENEVIEVE  STEBBINS 

eight  measures  for  this,  clasping  the  hands  on 
the  head  on  the  eighth  when  finally  on  the  knees. 

2.  Gradually  rise  during  eight  measures,  tinger-tips 
touching  and  trunk  circling.  A  slight  separa- 
tion of  hands  takes  place  when  half  way  up  and 
the  arms  perform  spiral  serpentine  motions  and 
are  finally  held  up  in  flame  prayer  form,  finger- 
tips touching.  Eight  measures  should  be  spent 
in  rising  and  arm  motion  and  attitude.  Perform 
this  twice  on  each  side. 

This   symbolizes  the  flame    sinking    and    rising    as  a 
prayer  to  God. 

Figure  YI. 

This  figure  symbolizes  the  whirl  of  the  wind  and  the 
floating  of  the  clouds — the  beings  of  air. 

1.  Sway  the  right  arm  laterally  to  the  right,  as  the 

left  leg  crosses  the  right  in  front  and  then  is 
carried  as  far  around  as  is  possible.  Pivot  on 
toes,  making  one  complete  turn  and  joining  fin- 
ger-tips as  you  come  to  the  front,  one  palm  up. 
The  weight  should  now  be  on  the  left  foot  re- 
tired. Four  measures  of  music  must  be  allowed 
for  the  pivot. 

2.  Sway  forward    oblique,  right   leg   strong.     Sway 

gently  at  the  waist  during  four  measures, 

3.  Pepeat  1  and  2  on  same  side. 


sVsTem  of  physical  training.  129 

4.    rerforni  twice  on  opposite  side. 
.").    Spreading  tlie  arms  and  leaning  well  back,  weight 
I'iglit    retired,  slowly  pivot   on  right  toe,  regula- 
ting the  turn  by  a  continuous  little  raising  of  the 
heel  and  carrying  it  around  in  a  tiny  circle,  but 
not  raising  the  right  toe.   The  toe  is  used  to  pivot. 
The  left  leg  is  extended  and   carried   around    by 
the  action  of  the    right.     The   action    is  not  one 
continuous  whirl,  but  a  series  of   little  turns  and 
waits      The    arms    alternately    open,  serpentine 
and  wreathe.   One  circling  takes  eight  measures. 
Repeat  on  same  side.      Perform  twice    on  oppo- 
site side. 
Entrances   and    exits    should    be    performed  in  waltz 
time,  gracefully  waving  the  arms.      The  costume  should 
be  Greek  with  drapery  hanging  from  the  shoulders. 


DIAGRAM. 

Music: 

Waltz 

I. 

Unveil 
Har.  poise 

Right 

4 

Left 

4 

Alt. 
4 

Both 

4 

II. 

Swimming  arms  \ 
liar,  poise             > 
Mercury  att.         ) 

Right 
2 

Left 
2 

Hi. 

Wreathing  Circling  {  Right  Left 

Reverse  turns  and  sways    )  2  2 

N.  B.— Sway  at  the  end  of  each  side  figure. 


IV. 

Prostration  )  Right  Left  Alt. 

Adoration     )  4  4  8 

N.  B.— Gradually  turn  the  trunk  as  you  alternate. 


V. 

Flame  Motion  )  Right  Left 

Sinking  and  Rising  )  2  2 

N.  B. — Use  eight  measures  in  kneeling  and  eight  measures  In 
rising. 


^^^^^  )  1       Right       Left    x>.„„^    )        Righ 

Sway   [     Whirl  %  2       Pivot    ^  « 

Pivot   7 


THE  GENEVIEJ'E  STEBBLTS  131 

-ESTHETIC  DRILL. 

Flying  Series. 

1.  Raise  arms  siclewise,  hands  hanging,  fingers  pointing 

to  ground. 

2.  Sink  wrists  as  arms  sink  to  sides. 

3.  Again  raise  arms,  this  time  a  little  higher  than  at  first. 

4.  Sink  wrist  as  arm  sinks  to  side. 

5.  Continue  raising  arms  and  sinking  wrists,  each  time  a 

trirte  higher,  until  the  fingers  touch  over  head. 

6.  Clasp  hands  over  head  and  hring  them  hack  of  head 

in  rest  position. 

7.  Hold   hands   there   while   twisting  body   first  to   the 

right  then  to  the  left. 

8.  Bring  wrists  to  shoulders,  then  to  sides,  for  finish. 

Half-Serpentine  Series. 

Raise  arms  sidewise  level  with  shoulder,  sink  wrist,  turn 
hand.  Hand  should  now  be  well  bent  back  on  wrist, 
fingers  to  floor. 

1.  Bring  wrist  to  shoulder. 

2.  Raise  wrist  until  fingers  touch  shoulder. 

3.  Unbend  arm,  hand  well  back. 

4.  Repeat  ascending  lateral. 

5.  Repeat  over  head. 

6.  Repeat  horizontal  oblique. 

7.  Repeat  ascending  oblique. 

8.  Repeat  front. 

9.  Repeat  ascending  front.     Finish  at  sides,  then  sink 

wrists  to  sides,  hanging  arms. 


132  SYSTEM  OF  PHYSICAL  TRAINING 

Serpentine  Arm  Series. 

Carefully  ;?tudy  the  serpentine  motion  of  arm.*     Then 

1.  Raise  both  arms  sideways  level  with  shoulders,  hands 

hanging.  Make  the  serpentine  motion  as  described 
until  the  last  unfolding.  Instead  of  returning  on 
the  same  line,  push  the  hand  out,  lateral  ascending. 

2.  At  that  point  again  make  the  serpentine  motion,  but 

return  the  hand  over  head. 

3.  Repeat  descending  oblique. 

4.  Repeat  horizontal  oblique. 

5.  Repeat  descending  oblique. 

6.  Repeat,  right  arm  ascending  oblique  while  left  is  de- 

scending oblique ;  repeat  with  left  arm  ascending. 

7.  Repeat,  both  arms  carried  to  right  ascending  oblique. 

8.  Both  arms  carried  to  left  ascending  oblique. 

9.  Both  arms  carried  back  of  the  head  and  down. 

Spiral  Series. 

Carefully  study  the  spiral  arm.    Then  unfold  the  right 
arm. 

1.  Descending  front. 

2.  A  little  higher,  but  still  descending  front. 

3.  Horizontal  front. 

4.  Ascending  front. 

5.  Higher,  but  still  ascending  front. 

6.  Immediately  over  head. 

7.  Repeat  the  foregoing  six  in  the  oblique  direction. 

8.  Repeat  with  the  left  arm. 

9.  Repeat  with  both  arms. 

*  See  "Society  Gymnastics"  ($1),  page  37. 


APPENDIX. 


The  Relation  of  Physical  Culture  to 
Expression. 


Any  close  observer  of  the  trend  of  ediTcational  thought 
in  our  art  of  expression  will  have  heard  tlie  battle-cry  of 
two  opposing  forces. 

First  comes,  ' '  All  should  proceed  from  the  mind. 
Yield  to  the  within.  Abandon  yourself  entirely  to  men- 
tal direction,  to  the  impulses  of  the  heart.  Observe  the 
child.  Follow  the  psychology  of  nature.  All  else  is 
mechanical,  false.  The  shield  is  golden."  And  I  look 
through  their  glasses  and  on  their  side  and  cry  aloud, 
"  Yes,  yes,  the  shield  is  golden  !     Who  can  dispute  it?  " 

But  afar  off  comes  the  distant  tread  of  many  feet  and 
soon  on  the  mountain-top  above  the  valley  appear  a  tri- 
umphant band  who  shout,  "  The  shield  is  silver!  " 

"  All  art  must  have  its  technique.  Nothing  comes 
without  work.  No  one  is  worthy  the  name  of  an  artist 
who  knows  not  the  technique  of  his  profession.  And 
technique  is  not  only  the  artisan  part  of  the  training, 
but  it  also  consists  in  the  mind's  knowledge  of  the 
signs  of  expression  and  the  ability  to  take  them 
irrespective  of  the  emotions.  This  is  art's  true  road. 
This   is   art's  true  psychology.     For  art  is  not  an  exact 

m 


134  APPENDIX. 

imitation  of  nature,  but  deals  in  symbols  which  are 
felt  as  truth  by  the  oversoul  of  masseg.  You  must  ideal- 
ize if  you  would  reach  the  public.  If  you  trust  entirely 
to  the  individual  mind,  uncorrected  by  a  true  technique, 
you  reveal,  not  the  signs  of  universal  truth,  but  only  the 
eccentricities  of  the  individual — eccentricities  often  en- 
tailed upon  him  by  a  long  line  of  abnormal  heredity. 
You  must  have  technique.   Plainly  the  shield  is  silvern  ! ' ' 

Crossing  the  valley  and  climbing  the  mountain,  I  look 
down  and  exclaim  with  them,  "The  shield  is  indeed 
silvern."  However,  remembering  my  first  impression, 
I  am  still  in  doubt.  Wandering  into  the  forest  to  clear 
my  vision,  and  returning,  I  look  and  lo!  the  flash  of 
gold  and  silver  illuminates  the  sky. 

So,  friends,  leaving  metaphor  aside,  will  you  kindly 
listen  while  I  quickly  review  with  you  some  of  the  con- 
clusions my  life  has  brought  to  me — a  life  whose  early 
lessons  were  taken  from  two  such  opposed  teachers  as 
Steele  MacKaye,  the  representative  of  Delsarte,  and 
Regnier,  late  president  of  the  Paris  Conservatory? 

Says  MacKaye,  ' '  Be  ice  yourself,  if  you  would  have 
your  audience  feel." 

"  If  you  are  forced  to  seek  in  the  head  for  that  which 
should  be  in  the  heart,  you  are  not  an  artist,"  exclaims 
Regnier, 

And  in  the  blended  thought  of  the  two,  it  seems  to 
me,  lies  truth. 

May  I  show  you  the  foundations  upon  which  I  rest 
my  belief  that  mind,  body  and  soul  can  not  be  divorced 
in  any  right  artistic  culture? 


APPENDIX.  135 

This  is  my  creed  : 

First — All  fajulties  lie  deep  within  the  soul  and  are 
there  potential  as  the  oak  in  the  acorn 

Second — These  faculties  can  not  be  manifested  with- 
out tlie  cooperation  of  the  brain,  each  portion  of  the 
brain  liaving  its  own  function. 

Third — Through  the  nervous  system  is  established 
communication  between  brain  and  body ;  each  function 
in  the  brain  sympathizing  with  some  part  of  the  body, 
and  corresponding  surfaces  also  having  corresponding 
meanings, — the  upper  with  the  upper,  the  lower  with 
the  lower,  the  anterior  witli  the  anterior,  the  posterior 
with  the  posterior,  and  so  on. 

Fourth — The  j)sychic  faculties  are  throned  in  the 
brain,  the  physiological  functions  find  their  seat  in  the 
body,  and  action  and  reaction  between  the  two  swings 
the  great  pendulum  of  life.  Thus,  when  anger  or  love 
quickens  the  circulation  and  changes  the  breathing,  we 
recognize  the  physiological  correspondence  to  the  psychic 
faculty  which,  if  unol)structed,  is  further  carried  out- 
ward into  pantomime.  Pei'  contra,  tlic  wilful  expres- 
sion of  an  emotion  whicli  we  do  not  feel  generates  it  by 
generating  the  sensations  connected  with  it,  which,  in 
their  turn,  are  associated  with  analogous  emotions. 
Note,  friends,  this  latter  statement,  for  upon  it  is 
founded  much  of  my  teaching. 

Fifth — When  emotion  has  been  stirred,  from  either 
within  or  without,  impulses  of  expression  are  roused 
into  action  not  primarily  initiated  by  the  conscious 
brain.     This  we  term  instinct  or  inspiration. 


136  APPENDIX. 

Sixth — Again  the  brain  must  step  in  and  judge  of  the 
impulse,  remembering  it  for  future  artistic  use,  other- 
wise the  emotional  impulse  may  indicate  the  wrong  road 
to  true  art. 

Seventh — Practice  in  guiding  both  intellect  and  emo- 
tion when  attained,  is  the  sure  road  to  power, 
■  Eighth — Absolute  justice  in  rendering  unto  Csesar 
the  things  that  are  Ccesar's  and  unto  God  the  things 
that  are  God's,  must  be  the  constant  aim  of  the  artist, 
if  he  would  cultivate  in  himself  those  instincts  of  right 
which  alone  will  enable  him  to  separate  the  gold  from 
the  dross,  the  true  from  the  false.  This  habit  of  right 
judgment   in    the   daily   life   alone   leads   to    true  art. 

Ninth — Trusting  to  his  past  work  he  feels  he  has 
stored  his  life's  lessons  in  this  subconscious  memory  and 
can  safely  look  within  for  his  master,  knowing  that  the 
light  which  shines  there  is  for  him  the  life-giving  sun  of 
his  universe. 

In  the  foregoing  summary,  fellow-teachers,  you  have 
heard  the  profound  convictions  of  my  life.  To  me  it  is 
the  only  path  to  be  followed  by  the  artistic  temperament, 
such  temperament  implying  that  its  possessor  lias  a 
sensitive  nervous  system  and  both  imagination  and  feel- 
ing. But  to  follow  that  path,  line  preliminary  training 
is  necessary  in  both  body  and  voice.  We  must  make  the 
instrument  sure  and  true  before  we  play  upon  it.  Gym- 
nastics for  the  body  and  voice  should  precede  and  ac- 
company all  expressional  use,  while  the  mind  should  be 
filled  with  a  knowledge  of  true  artistic  signs.  In  many 
of  us  long  years  of  repression  have  paralyzed  the  natural 


APPENDIX.  137 

instinct  of  expression.  It  must  again  be  awakened. 
And  a  right  use  of  signs  can  be  made  educational  if  due 
attention  is  paid  to  tlie  reflex  action  which  should  take 
place  when  right  signs  are  coordinated.  But,  you  ex- 
claim, all  this  is  Delsarte's  system.  I  answer,  not  en- 
tirely. The  great,  broad,  primitive  emotions  arc  selected 
and  the  body  trained  in  their  signs.  Then,  when  the 
body  has  become  plastic,  yield  it  an  obedient  servant  to 
intellect  and  emotion.  The  novice  needs  an  experienced 
teacher  gently  to  guide  the  subtle  play  of  each  one's 
inner  instinct  to  expression. 

Truth  has  many  veils,  and  the  young  artist  may  rend 
one  and  then  another,  gradually  getting  to  the  beautiful 
centre.  The  young  artist  is  like  the  young  child  who 
imitates  his  elders  and  moans  over  the  broken  leg  of  the 
doll  or  exults  in  the  glory  of  the  tin  soldier;  but  not 
until  life  has  brought  to  each  its  lessons  of  pain  and 
pleasure,  attainment  and  failure,  can  the  individual 
have  probed  deep  enough  into  the  human  heart,  alone 
and  unaided,  to  dare  interpret  its  agony  or  voice  its  joy. 

Believing  that  it  is  impossible  to  divorce  body,  brain, 
and  soul  in  any  right  training,  I  have  been  forced  to 
lead  you  through  the  labyrinth  to  make  you  see  from 
my  standpoint  the  immense  value  of  physical  training  to 
expression.  Beginning  with  inexpressive  gymnastics 
for  the  body  and  singing-exercises  for  the  voice,  my 
imthod  has  been  to  proceed  from  them  to  movements  of 
grace,  beauty  or  meaning  and  readings  requiring 
thought  and  emotions.  All  the  art-forms,  carved, 
painted   or   seen,  that  possess  these  requirements  have 


138  APPENDIX. 

been  adapted  into  ray  sestlietic  system,  which  is  pro- 
gressive, advancing  from  the  simple  to  the  complex.  At 
a  certain  stage  of  this  work  comes  in  statue- posing. 
Here  let  me  quickly  add  that  I  do  not  mean  tableaux 
with  wigs  and  whitewash. 

The  statue-posing  that  I  refer  to  is  educational,  lead- 
ing on  to  pantomime  and  gesture.  Thus  you  see  that 
statue-posing  occupies  a  transitional  place.  May  I  call 
your  attention  to  the  great  importance  of  this  study  as 
the  direct  stepping-stone  from  meaningless  physical 
training  to  expressional  culture  ?  The  Greek  gods  are 
not  expressive  of  individual  mind  but  of  universal  ideas. 
They  were  carved  to  embody  those  splendid  abstract 
laws  of  the  universe — form,  power,  balance,  rhythm, 
repose — in  one  word,  beauty.  In  these  siatues  we  see 
represented  the  emotions  of  the  gods.  The  practice  of 
them  gives  ease,  dignity  and  calm,  removing  all  affecta- 
tion.    Can  one  affect  rhythm,  balance  and  power? 

You  may  here  ask,  "Do  all  attain?"  And  T  an- 
swer. Yes,  if  they  work  and  have  the  artistic  tempera- 
ment and  are  normally  built. 

Again  you  may  question,  "  Do  they  look  like  the 
statues  ?  "  To  this  I  answer  emphatically,  No!  They 
look  themselves,  obeying  the  laws  of  correspondence, 
repose  and  rhythm. 

And  now  a  third  query  comes  to  me,  "  Is  it  true  art 
to  put  statue-posing  on  the  platform  as  a  number  in  an 
entertainment  ?  "  And  I  reply,  ''  What  is  the  aim  of 
the  artist  before  the  public  ?  Is  it  not  to  interest,  move 
or  persuade  ^  "      Then  has  not  bfautifnl  expressive  mo- 


APPENDIX.  139 

tion  its  place  as  well  as  beautiful  music  ?  The  abuse  of 
any  good  thing  does  not  prove  its  lack  of  use.  Rant  is 
no  arguirent  against  a  true  elocution,  and  affectation  in 
the  use  of  motion  can  not  be  used  as  a  plea  against  grace 
and  meaning  in  action. 

In  the  Greek  statues,  we  come  face  to  face  with  man's 
highest  ideal  of  man  as  represented  by  art,  and  wlien  did 
the  ideal  ever  belittle  the  student  ?  The  imagination  is 
brought  into  play  by  studying  the  probable  emotion  or 
action  which  preceded  the  carved  one.  "When  we  con- 
sider also  the  immense  value  to  the  whole  organism  of 
slow  motion  and  held  attitudes  in  forms  of  beauty  and 
power,  must  it  not  be  acknowledged  tliat  in  them  We 
have  found  a  superb  gymnastic  ? 

The  Swedish  system  is  based  on  the  same  premise  of 
the  value  of  slow  motion  and  held  attitude  as  giving 
time  for  nutritive  changes  in  the  cellular  tissues.  An 
exclusive  use  of  the  Swedish  system  is  detrimental  to 
expression,  but  combined  with  the  aesthetic  it  proves 
valuable.  It  is  because  of  this  valuable  element  that 
such  teachers  of  physical  training  as  Drs.  Anderson, 
Seavcr,  and  Taylor  have  recognized  its  use  and  counseled 
its  practice.  Delsarte's  fundamental  exercises  must  pre- 
cede the  statue-posing.  It  was  to  complement  tlose 
exercises  that  I  studied  the  models  found  in  the  galleries 
of  Europe. 

In  taking  other  carved  forms  than  those  of  the  gods 
we  learn  another  great  lesson — we  see  strong  emotion 
controlled  by  will  and  represented  by  beauty. 

Is  not  that  last  lesson  of   supreme  importance  to  the 


14<J  APPENDIX. 

artist  of  expression  ?  The  study  of  the  statues  has  also 
its  correlative  literary  value  in  familiarizing  the  student 
with  classical  and  poetic  allusions  in  a  vital,  living  way. 
The  student  gathers  into  his  very  being  forms  of  beauty 
and  thoughts  of  God. 

Ah!  dear  ones  of  Olympus,  your  .frozen  lips  whisper 
as  nature  does.  Not  in  hurry  and  turmoil,  not  in  tur- 
bulence or  passion,  not  in  fear  and  anxiety,  but  in  a 
glorious  calm  of  being  of  right  rhythmic  action  and  rest 
do  true  manhood  and  womanhood  lie. 

"Then  life  is  to  wake,  not  sleep, 

Rise  and  not  rest  but  press 

From  Earth's  level,  where  blindly  creeps 

Things  perfected  more  or  less 

To  the  Heaven's  height  far  and  steep." 


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